COLOMBIAN CINEMA AND A CRUISE EXPERIENCE IN THE SHADOW OF CONTRAST: VIOLENCE, MEMORY AND NATION

https://doi.org/10.5281/zenodo.6556507

Abstract

Colombian cinema could not offer much content in the early years of cinema to its audiences who were faced with conflicts, conflicts and violence. The fact that the state authority could not be provided, the resources were not suitable for cinema, and the laws did not create a law for cinema production also caused a heavy progress for Colombian cinema. Interest in developing film productions in Colombia was curtailed by a series of civil wars, particularly the Thousand Days War in the early twentieth century. As in other parts of Latin America, the lack of film materials makes it difficult to study those years. Throughout the civil war, known as La Violencia in Colombian history, the brutality of conservative police, civilians, and liberal guerrillas who have no official ties to the administration but sympathize with it, has been exhibited. Later, the conflicts between the FARC and ELN groups kept the country in a constant state of chaos and the cinema continued to survive in the shadow of this chaos. With a law passed in 2003, an increase in film studies started and Colombian cinema entered the recovery process. This law was later renewed with major revisions in 2013 and cinema regulations were expanded. Colombian cinema has produced successful films after these processes and has demonstrated this success with international awards. In this study, Colombian cinema is evaluated from a historical sociological perspective. The historical process of Colombian cinema and how this inner unrest is reflected in the cinema will be discussed. Since it is very difficult to read the cinema in Colombia independently of its political history, it is necessary for the study to consider its political history.