Miradas educativas al cine boliviano: un acercamiento a la otredad
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Rev Cien Cult
Abstract
El cine boliviano tiene una rica filmografía sobre miradas a la formación femenina. Como primera aproximación, para efectos de este ensayo, se seleccionó la siguiente muestra: La cruel Martina (Juan Miranda, 1989), Noemí, la niña de la montaña (Per Schultz, 2002) y Valeria, la película (GAMLP, 2018). Cada una contiene similares narrativas y pone de manifiesto la lectura de la otredad como afirmación y negación. A partir de la lectura de Verano (2012) se identificaron las siguientes dimensiones para el análisis: a) vida familiar y negación de la escuela, b) conflicto entre patriarcado y escuela, c) tradición como bisagra (familia y escuela), d) modelos femeninos condicionados a la presencia masculina, e) ausencia de formación sexual y f) la otredad desde el lenguaje escolar. Los personajes femeninos, representados por Martina, Epifania, Valeria y Noemí, aparecen en contextos patriarcales y desde éstos desarrollan acciones de aceptación o rechazo al otro. Entre las conclusiones se señalan: a) la escuela es un espacio clave en la vida de una mujer. Si no está, ni siquiera la Iglesia puede garantizar ver la transformación del otro (ellas); b) mientras los personajes femeninos están más inmersos en el proceso de formación, aparece su incidencia en la acción política dentro de una localidad, una mayor afirmación del otro; y c) la crianza es distinta, según como se interprete la condición femenina. Dependiendo de cada contexto habrá, o no, una afirmación del otro.
Bolivian cinema contains a rich filmography on considerations of women's education. As first approach for the purposes of this paper, the following samples were selected: La cruel Martina (1989) by Juan Miranda, Noemí, la niña de la montaña (2002) by Per Schultz and Valeria, la película (Municipality of La Paz, 2018). Each one contains similar narratives and highlights the reading of otherness as affirmation and denial. From reading Verano (2012), the following aspects were identified for the analysis: a) family life and school denial, b) conflict between patriarchy and school, c) tradition as a hinge (family and school), d) female models conditioned to the masculine presence, e) absence of sexual formation, and f) otherness through the perspective of school language. The female characters, represented by Martina, Epifania, Valeria, and Naomi, appear in patriarchal contexts from which they develop actions of acceptance or rejection of the other. Among the conclusions are the following: 1) School is a key space in the life of women. If it is not present, not even the Church can guarantee the transformation of the other (women), 2) At the time during which the female characters are most immersed in the process of formation, there is advocacy on their part in the politics of a town, which constitutes a greater affirmation of the other, 3) Upbringing differs depending on how the feminine condition is interpreted, and depending on the context where it is practiced, it will affect the affirmation or negation of the other.
Bolivian cinema contains a rich filmography on considerations of women's education. As first approach for the purposes of this paper, the following samples were selected: La cruel Martina (1989) by Juan Miranda, Noemí, la niña de la montaña (2002) by Per Schultz and Valeria, la película (Municipality of La Paz, 2018). Each one contains similar narratives and highlights the reading of otherness as affirmation and denial. From reading Verano (2012), the following aspects were identified for the analysis: a) family life and school denial, b) conflict between patriarchy and school, c) tradition as a hinge (family and school), d) female models conditioned to the masculine presence, e) absence of sexual formation, and f) otherness through the perspective of school language. The female characters, represented by Martina, Epifania, Valeria, and Naomi, appear in patriarchal contexts from which they develop actions of acceptance or rejection of the other. Among the conclusions are the following: 1) School is a key space in the life of women. If it is not present, not even the Church can guarantee the transformation of the other (women), 2) At the time during which the female characters are most immersed in the process of formation, there is advocacy on their part in the politics of a town, which constitutes a greater affirmation of the other, 3) Upbringing differs depending on how the feminine condition is interpreted, and depending on the context where it is practiced, it will affect the affirmation or negation of the other.
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Vol. 22, No. 41