5895 - Realist Transnationalism in La teta austada and Madeinusa

La teta austada and Madeinusa engage with Latin America's cinematic realist revival, both in their pragmatic use of (neo)realism (location shooting, non professional actors, long takes) and in their artisanal mode of production (use of digital cameras in Madeinusa ). Simultaneously, these films explore the legacies of Peru’s encounters with its colonial powers and its guerrilla conflict: the syncredic practices of the Easter celebrations in Madeinusa , the mining of Peru's (cultural) resources in La teta asustada . Co-financed by European and U.S. institutions (Sundance, World Cinema Fund, Canal +, TVE, Ibermedia) the films are also self conscious meditations on the transnationalized cultural sphere highlighting both the advantages (enabling Peru’s struggling cinematic culture, the circulation of Peruvian culture across borders) and disadvantages (re-ification of local narratives within the stereotypes of European art cinema) of these transnationalized funding structures and the transnationalized aesthetics which result from them. This paper analyzes these films as case studies in the contemporary production modes in Peru and Latin America

Keywords: transnationalism, realism, locality

Author: Dolores, Tierney (University of Sussex, United Kingdom/Ver Königr)


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