El film La Llorona de Jayro Bustamante: memoria cultural y género en la justicia transicional guatemalteca
This paper focuses on the analysis of the film La Llorona (2019), directed by Guatemalan filmmaker Jayro Bustamente and whose title, according to the popular legend, alludes to the woman who drowned her children and, as a result of guilt, searches for them at night near rivers and villages. La Lloro...
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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/4833 |
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I11-R112article-48332022-03-31T21:58:02Z The film La Llorona de Jayro Bustamante: Cultural Memory and Gender in the Guatemalan Transitional Justice El film La Llorona de Jayro Bustamante: memoria cultural y género en la justicia transicional guatemalteca Albizúrez Gil, Mónica Representaci´ón Genocidio Género Justicia transicional Memoria cultural Representation Genocide Gender Transitional justice Cultural memory This paper focuses on the analysis of the film La Llorona (2019), directed by Guatemalan filmmaker Jayro Bustamente and whose title, according to the popular legend, alludes to the woman who drowned her children and, as a result of guilt, searches for them at night near rivers and villages. La Llorona is, in this film, an indigenous woman who survived the Guatemalan genocide. As a maid, she enters in the house of General Enrique Monteverde, who functions as the alter ego of General Efraín Ríos Montt (1926-2018). The film focuses on the days in which General Monteverde is accused of the crime of genocide, being fundamental in my analysis the representation of the indigenous female victims, as well as the staging of the hierarchical coexistence in the space of the house. As anthropologist Aura Cumes argues, a power of domination among the women themselves persists in this domestic space, under the hierarchical relationship "señora-muchacha". My goal is to examine how in the film the film represents the scope and limitations of Guatemalan transitional justice in relation to the women victims of the genocide and, linked to this, the symbolic reconciliations of class and gender that are proposed. Este trabajo se centra en el análisis del film La Llorona (2019), dirigido por el cineasta guatemalteco Jayro Bustamente y cuyo título, en clave de leyenda popular, alude a la mujer que ahogó a sus hijos y, como consecuencia de la culpa, los busca por las noches cerca de los ríos y los pueblos. La Llorona es, en esa película, una mujer indígena que ha sobrevivido al genocidio guatemalteco y que, como empleada doméstica, ingresa en la casa del general Monteverde, quien funciona como el alter ego del general Efraín Ríos Montt (1926-2018). La película se centra en los días en que el general Monteverde es acusado por el delito de genocidio, siendo fundamental en consecuencia en mi análisis la representación de las víctimas mujeres indígenas como también la puesta en escena de la convivencia jerárquica en el espacio de la casa. Como sostiene la antropóloga Aura Cumes, en ese espacio perdura un poder de dominación entre las mismas mujeres, bajo la relación jerárquica “señora-muchacha”. Mi objetivo es examinar cómo se representan en el film el alcance y las limitaciones de la justicia transicional guatemalteca con relación a las mujeres víctimas del genocidio y, ligado a ello, las reconciliaciones simbólicas de clase y de género que se proponen. Centro Interdisciplinario de Literatura Hispanoamericana (CILHA) 2021-07-19 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion text/xml application/pdf https://revistas.uncu.edu.ar/ojs3/index.php/cilha/article/view/4833 10.48162/rev.34.015 Cuadernos del CILHA; Núm. 34 (2021): Dosier: Cartografías culturales: entre efectos y afectos de la violencia de género; 1-25 1852-9615 1515-6125 spa https://revistas.uncu.edu.ar/ojs3/index.php/cilha/article/view/4833/4472 https://revistas.uncu.edu.ar/ojs3/index.php/cilha/article/view/4833/3793 Derechos de autor 2021 Mónica Albizurez Gil https://creativecommons.org/licenses/by-nc/2.5/ar/ |
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Albizúrez Gil, Mónica |
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Albizúrez Gil, Mónica El film La Llorona de Jayro Bustamante: memoria cultural y género en la justicia transicional guatemalteca Representaci´ón Genocidio Género Justicia transicional Memoria cultural Representation Genocide Gender Transitional justice Cultural memory |
| author_facet |
Albizúrez Gil, Mónica |
| author_sort |
Albizúrez Gil, Mónica |
| title |
El film La Llorona de Jayro Bustamante: memoria cultural y género en la justicia transicional guatemalteca |
| title_short |
El film La Llorona de Jayro Bustamante: memoria cultural y género en la justicia transicional guatemalteca |
| title_full |
El film La Llorona de Jayro Bustamante: memoria cultural y género en la justicia transicional guatemalteca |
| title_fullStr |
El film La Llorona de Jayro Bustamante: memoria cultural y género en la justicia transicional guatemalteca |
| title_full_unstemmed |
El film La Llorona de Jayro Bustamante: memoria cultural y género en la justicia transicional guatemalteca |
| title_sort |
film la llorona de jayro bustamante: cultural memory and gender in the guatemalan transitional justice |
| description |
This paper focuses on the analysis of the film La Llorona (2019), directed by Guatemalan filmmaker Jayro Bustamente and whose title, according to the popular legend, alludes to the woman who drowned her children and, as a result of guilt, searches for them at night near rivers and villages. La Llorona is, in this film, an indigenous woman who survived the Guatemalan genocide. As a maid, she enters in the house of General Enrique Monteverde, who functions as the alter ego of General Efraín Ríos Montt (1926-2018). The film focuses on the days in which General Monteverde is accused of the crime of genocide, being fundamental in my analysis the representation of the indigenous female victims, as well as the staging of the hierarchical coexistence in the space of the house. As anthropologist Aura Cumes argues, a power of domination among the women themselves persists in this domestic space, under the hierarchical relationship "señora-muchacha". My goal is to examine how in the film the film represents the scope and limitations of Guatemalan transitional justice in relation to the women victims of the genocide and, linked to this, the symbolic reconciliations of class and gender that are proposed. |
| publisher |
Centro Interdisciplinario de Literatura Hispanoamericana (CILHA) |
| publishDate |
2021 |
| url |
https://revistas.uncu.edu.ar/ojs3/index.php/cilha/article/view/4833 |
| topic |
Representaci´ón Genocidio Género Justicia transicional Memoria cultural Representation Genocide Gender Transitional justice Cultural memory |
| topic_facet |
Representaci´ón Genocidio Género Justicia transicional Memoria cultural Representation Genocide Gender Transitional justice Cultural memory |
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1800221191866155008 |
