From Europe to Peru: the Cases of Mary Jimenez and Salome Lamas from a Transnational Perspective
Keywords:
Transnational cinema, Europe, Latin America, Peru, Mary Jimenez, Salome LamasAbstract
The transnational perspective has been established in recent years as a useful tool to reflect on the contemporary cinematographic practices. In this article, the focus is on the work of Peruvian filmmaker Mary Jimenez, based in Belgium, and Portuguese Salome Lamas, who traveled to Peru in 2016 to register the forgotten miners of La Rinconada. In both cases the nationality of their respective films emerges as an ambiguous question that reveals the tensions between funding processes and the personal motivations and artistic ambitions that could bring these creators closer to an authorial sphere. Both Del verbo amar (1985), in which Jimenez returns to the city of Lima, and Eldorado XXI (2016), in which Lamas updates the legendary search for gold, refer us to the fertile but controversial polysemy of which the transnational concept is characterized.
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Bustamante, E. (2013): «Mary Jiménez: íntima y universal», en Catálogo Transcinema, 178-181. Recuperado de https://issuu.com/transcinema/docs/catalogo2013
Ezra, E.; Rowden, T. (2006): «General Introduction: What is Transnational Cinema?», en Transnational Cinema: The Film Reader (pp. 1-12). Londres, Reino Unido: Routledge.
Hjort, M. (2009): «On the Plurality of Cinematic Transnationalism», en Durovičová, N.; Newman, K. (eds.): World Cinemas, Transnational Perspectives. Nueva York, Estados Unidos: Routledge, pp. 12-33.
Mourinha, J. (2016): «To the Ends of the Earth: An Interview with Salomé Lamas», en MUBI. Recuperado en https://mubi.com/notebook/posts/to-the-ends-of-the- earth-an-interview-with-salome-lamas
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