Apocalipticismo y postapocalipticismo en la ciudad, de Las malas intencionesa Maruja en el infierno
In this paper I explain how the prominence of female characters in the Peruvian films Las malas intenciones (Rosario García Montero, 2011) y Maruja en el infierno (Francisco Lombardi, 1983) deploys an alternative gaze to the urban society of the eighties, devastated due to the failure of national pr...
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| Formato: | Online |
| Lenguaje: | spa |
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Centro Interdisciplinario de Literatura Hispanoamericana (CILHA)
2021
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| Acceso en línea: | https://revistas.uncu.edu.ar/ojs3/index.php/cilha/article/view/4807 |
| Sumario: | In this paper I explain how the prominence of female characters in the Peruvian films Las malas intenciones (Rosario García Montero, 2011) y Maruja en el infierno (Francisco Lombardi, 1983) deploys an alternative gaze to the urban society of the eighties, devastated due to the failure of national projects that never renounced their colonial legacy. While the first film portrays a decadent society, besieged by an insurrection that, from the surrounding areas of the city, breaks into the domestic space of the family, the second film shows the devastation as a fait accompli where the survivors unleash their brutal passions and ambitions. Lima, siege of unsuccessful industrialization projects, transitions from the apocalyptic views of Cayetana in Las Malas intenciones, to the post-apocalyptic environment in Maruja en el infierno, where Maruja struggles to survive. |
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