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Peru Documentary Essay

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New documentary production in Peru has engaged in a range of reflexive visual and representational strategies that place it in dialogue with global documentary cinema more broadly. For example, we might cite the influence of Lithuanian filmmaker Jonas Mekas’s (1922-) “diary films” or actress-director Sarah Polley’s (1979-) Stories We Tell (2012), an autobiographical documentary that focuses on her family. Bill Nichols’s concept of a “reflexive mode” of documentary outlines a practice that is deeply aware of the process of documenting in film. Distinctive examples of this reflexive tradition include Dziga Vertov (1896–1954) and Vietnamese filmmaker Trinh T. Minh-ha (1952-), but could also be said to incorporate Peruvian filmmakers like Juan …show more content…
First, we will look at the Caravana Documentary Project. Under the aegis of this project, documentary workshops took place in Peru’s peripheral areas that turned documentary filmmaking into a tool for community building and self-expression. Second, we will examine the aforementioned documentary Retrato peruano del Perú, a feature film that explores collective identity through the use of fotografía iluminada (illuminated photography)—a now mostly outdated artistic technique that transforms photographic images into painted portraits, usually altering some features present in the original. In the film, these alterations, as we will see, reflect an aesthetic of the popular that challenges elite narrative and symbolic configurations. In both cases, documentaries are no longer strictly conceived as spaces for representing the real but rather as sites where new figurations can be constructed, interpreted, and performed. By the same token, the audience is not a passive recipient of content but an active agent in the documentary film process. The spectator’s gaze, multiple and complex, becomes part of the film’s narrative, which seeks to subvert the filmic gaze or pose questions about the very practice of

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