- Research Student
PhD Film Studies
Central American Cinema: representations of its political economy relations
Central America is an imagined region and cinema is an ecosystem visible through the montage of images and sounds representing imaginaries as well. To apply to them an actor-network theory (ANT) approach puts forward the interactions and translations among stakeholders contesting hegemonic belongings to delimited regions or fields.
When analyzing the most recent 24 films prized by Ícaro Film Festival as the best of Central America Cinema the research goes after the performativity of the category. It deeps into the contradictions of a temptative region that does not matches any geographical, historical or economic homogeneity. It follows a heterogeneity of conditions that García names as disconnectedness and that Butler and Athanasiou consider under precariousness in their implications within specific exchanges.
Film as an art that is also industry combines factors that are either without conflict. The film text, the production processes and distribution schemes are the result of that exchange and therefore considered as capable of agency. Bourdieu proposed the heteronomy of the field of economy upon art, through ANT they are in a mutual relation of determination. Thus the translations between symbolic object and commodity are not a final step but a constant elaboration.
These struggles for reproduction and consecration are represented in the aesthetic/narrative dimension of the film. How it correlates with the grid of interactions gives the possibility to challenge the representations as striving toward a unified cohesive narrative, be it Central America or cinema.
Film, identity, Actor Network Theory, cultural studies, performativity, education
M.A. of Arts, University of Applied Sciences Ostwestfalen-Lippe
Collective Communications Sciences Licentiate University of Costa Rica