Abstract
ABSTRACT The film Shunko (Argentina, 1960) by Lautaro Murúa, based on the autobiographical novel by Jorge W. Ábalos (1949), intertwines cinematographic aesthetics of the (first) New Argentine Cinema with the representation of critical pedagogy. In the context of Latin American studies and from a sociocritical perspective, this article analyzes the way in which Murúa (as main actor and director) represents the urban teacher in relation to Bakhtinian dialogism, the process of disidentification, and critical pedagogy. It aims to disarticulate how the teacher-student binary interconnects two opposing discursive forces: the national civic-homogenizing agenda of the teacher and the dialogical intention of the local minoriédad (a neologism), embodied by Shunko. By revealing certain prejudices hidden in the Argentinian educational system of the time, this recreation offers a space of resistance that resemantizes the representation of the teacher.
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