Beruflich Dokumente
Kultur Dokumente
This research addresses the discourses that were created by the Paraguayan military dictatorship of Alfredo
Stroessner from the 1950s through the 1980s regarding male gays and their treatment in society. Primarily the aim
of this essay is to analyze the particular case presented by Renate Costas 2010 documentary 108 Cuchillo de palo,
showing the deep connections between the last dictatorship in Paraguay and the treatment of homosexual men
during that time as well as the destructive effects in todays gay community. This research also addresses key
historical elements of prejudice against homosexuals such as the cases of the murders of Bernardo Aranda and Mario
Luis Palmieri and the work that is being done by organizations such as SomosGay and Paragay to further the rights
of the gay community. Through a comprehensive analysis of the film which demonstrates the deep connections
between the political history of Paraguay with its current homophobia, the historical background, theoretical support
from authors like Brian OConnor, Judith Butler and Susannah Radstone, the essay reveals the stigma that male gays
face in Paraguay, not only during the dictatorship but even to this day.
Performing identity and diversity in documentary cinema of Peru
Dr Sarah Barrow
School of Film &Media
University of Lincoln, UK
sbarrow@lincoln.ac.uk rafaelafu@yahoo.com cesterrich@colum.edu
This paper explores the approaches taken to the themes of cultural diversity in the contemporary documentary
cinema of Peru. It focuses on the frequent recourse to performance as a device through which to engage with stories
of cultural reconnection and authenticity. In order to pin down these issues, the paper offers an analysis
of SigoSiendo (Jorge Corcuera, 2014) as a film that draws on the emotive and affective power of rhythm, music and
colour to drive home its message about the value of respecting diversity. By way of context, the
presentation considers the influence and legacy of the critically acclaimed Cuzco School, with its commitment to the
development of still and moving documentary images to celebrate the culture of the Peruvian Andes in the 1950s
and 1960s, and of the GrupoChaski, whose documentary and docu-drama films of the 1980s and 1990s were set in
and drew attention to the dynamism of the marginal migrant communities of Lima. There are, this paper contends,
many ways to connect the works of these film-makers with contemporary efforts, and the importance of
performance as a structuring and affective device is considered here as one of those.