EL CINE BOLIVIANO SOBREVIVIENDO AL COVID-19: LA PERCEPCIÓN DE LOS REALIZADORES SOBRE LOS EFECTOS DE LA PANDEMIA
Abstract
En el presente artículo se busca describir el efecto que tuvo la pandemia en el sector audiovisual boliviano, en el primer semestre de 2020, un periodo agravado por múltiples factores, entre ellos, la crisis política e institucional desatada en octubre-noviembre de 2019, una baja cultura digital, una importante brecha digital y una realidad socioeconómica compleja. Este es un trabajo de naturaleza exploratoria y cualitativa, que principalmente recolectó la información a través de fuentes primarias. Es decir, a través de los testimonios de realizadoras, realizadores, productoras y productores de distintos lugares de Bolivia. La herramienta fundamental para la recolección de datos fue la entrevista semiestructurada, probablemente la metodología más utilizada en investigaciones de naturaleza cualitativa. Se concluye que, desde la perspectiva de los realizadores, los efectos de la pandemia sobre el audiovisual boliviano fueron agravados por la crisis política y por una deficiente gestión del gobierno de transición. Por otro lado, los procesos de transformación de los modos de producción, de distribución y de comercialización, acelerados por la pandemia, deben ser asumidos, repensados y asimilados desde el contexto boliviano, como, por ejemplo, el uso de plataformas de VOD. Finalmente, se constató una tendencia en los realizadores nacionales, creen que el cine boliviano debe comprometerse con la realidad social y con el diálogo con el otro.
This article seeks to describe the effect that the pandemic had on the Bolivian audiovisual sector, in the first half of 2020, a period aggravated by multiple factors, including the political and institutional crisis unleashed in October-November 2019, a low digital culture, a significant digital divide and a complex socio-economic reality. This is a work of an exploratory and qualitative nature, which mainly collected the information through primary sources. That is, through the testimonies of filmmakers and producers from different parts of Bolivia. The fundamental tool for data collection was the semi-structured interview, probably the most widely used methodology in qualitative research. It is concluded that, from the perspective of the filmmakers, the effects of the pandemic on Bolivian audiovisuals were aggravated by the political crisis and by poor management of the transitional government. On the other hand, the transformation processes of the modes of production, distribution and marketing, accelerated by the pandemic, must be assumed, rethought and assimilated from the Bolivian context, as for example, the use of VOD platforms. Finally, a trend was found in national filmmakers, they believe that Bolivian cinema must be committed to social reality and should dialogue with the other.
This article seeks to describe the effect that the pandemic had on the Bolivian audiovisual sector, in the first half of 2020, a period aggravated by multiple factors, including the political and institutional crisis unleashed in October-November 2019, a low digital culture, a significant digital divide and a complex socio-economic reality. This is a work of an exploratory and qualitative nature, which mainly collected the information through primary sources. That is, through the testimonies of filmmakers and producers from different parts of Bolivia. The fundamental tool for data collection was the semi-structured interview, probably the most widely used methodology in qualitative research. It is concluded that, from the perspective of the filmmakers, the effects of the pandemic on Bolivian audiovisuals were aggravated by the political crisis and by poor management of the transitional government. On the other hand, the transformation processes of the modes of production, distribution and marketing, accelerated by the pandemic, must be assumed, rethought and assimilated from the Bolivian context, as for example, the use of VOD platforms. Finally, a trend was found in national filmmakers, they believe that Bolivian cinema must be committed to social reality and should dialogue with the other.
Description
Vol. 20, No. 2