Colombian Cinema Research Articles

Los protagonistas de las películas colombianas 1990-2003

El cine colombiano es el objeto de estudio de este artículo, que parte de los resultados de la investigación “Personajes, acciones y escenarios en el cine colombiano de 1970-2005”, realizada en la Universidad de Medellín (Colombia) entre 2005 y 2007. Se trata de un artículo de revisión en el que se hace un análisis narrativo de la representación de personajes protagónicos en las películas colombianas de la década de 1990 hasta 2003 (año de la puesta en marcha de la ley del cine en Colombia). Se abordan algunas películas de la muestra y en cada una se hace un análisis de los personajes más representativos.

Adicciones y adaptaciones

This article analyzes the relationship between literature and film between 2000 and 2005, a period characterized by the immediate adaptations of best-seller novels about the different forms of violence in Colombia (Satanás, Rosario Tijeras, and Perder es cuestión de método) into films. It claims that the adaptation of Fernando Vallejo's La Virgen de los sicarios set a model that seemed to be successful for the exoticization of violence, the use of highly commodified novels, or the gaze of directors who return to Colombia after having lived or studied abroad. The article explores the resonance of those novels and film adaptations in their specific moment as a preamble to discuss the validity of this paradigm in the current process of industrialization of Colombian cinema.

The Laugh of the Medusa

I shall speak about women's writing: about what it will do. Woman must write her self: must write about women and bring women to writing, from which they have been driven away as violently as from their bodies-for the same reasons, by the same law, with the same fatal goal. Woman must put herself into the text-as into the world and into history-by her own movement. The future must no longer be determined by the past. I do not deny that the effects of the past are still with us. But I refuse to strengthen them by repeating them, to confer upon them an irremovability the equivalent of destiny, to confuse the biological and the cultural. Anticipation is imperative. Since these reflections are taking shape in an area just on the point of being discovered, they necessarily bear the mark of our time-a time during which the new breaks away from the old, and, more precisely, the (feminine) new from the old (la nouvelle de l'ancien). Thus, as there are no grounds for establishing a discourse, but rather an arid millennial ground to break, what I say has at least two sides and two aims: to break up, to destroy; and to foresee the unforeseeable, to project. I write this as a woman, toward women. When I say "woman," I'm speaking of woman in her inevitable struggle against conventional man; and of a universal woman subject who must bring women to their senses