La construcción de identidad de la ecuatoriana en el cine.
Jorge Enrique Adoum, the great poet Neruda and personal secretary, to start his essay Ecuador: Distinguishing Features (1998) asks What - who - we mean when we say Ecuador? And that is the central question that accompanies this paper What does the Ecuadorian? How do you represent or manifest? How is...
| Autor Principal: | Rubio Romero, David Alejandro |
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| Formato: | bachelorThesis |
| Idioma: | spa |
| Publicado: |
2016
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| Materias: | |
| Acceso en línea: |
http://dspace.ups.edu.ec/handle/123456789/11679 |
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| Sumario: |
Jorge Enrique Adoum, the great poet Neruda and personal secretary, to start his essay Ecuador: Distinguishing Features (1998) asks What - who - we mean when we say Ecuador? And that is the central question that accompanies this paper What does the Ecuadorian? How do you represent or manifest? How is it built? Is there a way to be Ecuador? The main thesis of this essay is subject to the fact Ecuadorian identity and symbolic boundaries in audiovisual production performances. What is sought obsessively in these words is the inquiry into the common traits that identify us as a country and make the feature film Offside (2003) directed by Victor Arregui. Maybe not this or these common elements of the population are, and instead, a fragmented PARAIS is discovered with scattered and regional, national footprints difficult to unite. But above all, this research aims to find in the film Arregui, factions of national identity and its constituent elements, that which unites us or des - joins as a country. |
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