TY - GEN
T1 - Comedy as a Success Formula in Peruvian Cinema
AU - Aybar Cabezudo, Oscar Afredo
AU - Espinoza Robles, Lorena Teresa
AU - Gallardo Echenique, Eliana
PY - 2020/3/24
Y1 - 2020/3/24
N2 - Through a narrative perspective, this study analyzes the two
highest-grossing movies of Peruvian cinema released between 2017 and
2018, and describes how the different components of the audiovisual
story are used to generate empathy with its audience. The paradigm of
this research is interpretative with a qualitative research design.
Fragments of selected films are described and analyzed in the form of
critical analysis called ``Film Aesthetics{''}. From the universe of
Peruvian commercial films released in 2017 and 2018, the most successful
box office films were chosen as a showcase in the years referred to as
holding first place in the public's preferences. By Film Aesthetics we
confront a film's narrative elements with a logic of interpretation in
order to discover values or meanings. The study influences the use of
this type of analysis in teaching practice in order to train students in
the role of thinking viewers. In this case, the film's aesthetic
observation and analysis techniques are used, with a narrative focus in
the selected films. In this way, the main research categories have been
established, using the applicable narrative theory. We conclude that,
after the arrival of digital cinema as a standard, Peruvian cinema
flouts a new commercial style based on combining narrative elements such
as structure, conflict, setting and characters within a formula of light
amusement where the main characters are immersed in stories that value
the average Peruvian's daily routine as a key success factor. References
used in Peruvian comedies transcend cinematographic language and use
resources from other platforms, such as television and social networks.
With the advent of digital cinema, access to cinema in DCP has led to
more movies being made and different languages mixed together. Film
specificity has been diluted and the interpretation of the cinematic
language has been simplified adopting traditional and digital media
codes (reality television and/or YouTube resources) to the satisfaction
of the general public who rewarded both movies with its preference.
These comedies make narrative forms visible, which replicate and take
over the local film offer. It becomes necessary to revise current
curricula and create new curricula based on promoting academic film
criticism in higher education as a way to ensure a lively diversity in
audiovisual stories at Peruvian film schools, and that profoundly shape
the creativity of young learners. Since in the Peruvian scenario,
audience studies are taken into account only as potential consumers
expressed by figures in box office reports, it becomes necessary to
revise approaches to cinema critique and audience studies, studying the
audience's understanding of cinema's role in society. Thus, delving into
demand requirements which today impoverish the chain of commercial
cinema which arose after the standardization of digital cinema in Peru.
This study contributes to the existing literature in the impact of
digital cinema in Latin America and teaching practice in film studies.
AB - Through a narrative perspective, this study analyzes the two
highest-grossing movies of Peruvian cinema released between 2017 and
2018, and describes how the different components of the audiovisual
story are used to generate empathy with its audience. The paradigm of
this research is interpretative with a qualitative research design.
Fragments of selected films are described and analyzed in the form of
critical analysis called ``Film Aesthetics{''}. From the universe of
Peruvian commercial films released in 2017 and 2018, the most successful
box office films were chosen as a showcase in the years referred to as
holding first place in the public's preferences. By Film Aesthetics we
confront a film's narrative elements with a logic of interpretation in
order to discover values or meanings. The study influences the use of
this type of analysis in teaching practice in order to train students in
the role of thinking viewers. In this case, the film's aesthetic
observation and analysis techniques are used, with a narrative focus in
the selected films. In this way, the main research categories have been
established, using the applicable narrative theory. We conclude that,
after the arrival of digital cinema as a standard, Peruvian cinema
flouts a new commercial style based on combining narrative elements such
as structure, conflict, setting and characters within a formula of light
amusement where the main characters are immersed in stories that value
the average Peruvian's daily routine as a key success factor. References
used in Peruvian comedies transcend cinematographic language and use
resources from other platforms, such as television and social networks.
With the advent of digital cinema, access to cinema in DCP has led to
more movies being made and different languages mixed together. Film
specificity has been diluted and the interpretation of the cinematic
language has been simplified adopting traditional and digital media
codes (reality television and/or YouTube resources) to the satisfaction
of the general public who rewarded both movies with its preference.
These comedies make narrative forms visible, which replicate and take
over the local film offer. It becomes necessary to revise current
curricula and create new curricula based on promoting academic film
criticism in higher education as a way to ensure a lively diversity in
audiovisual stories at Peruvian film schools, and that profoundly shape
the creativity of young learners. Since in the Peruvian scenario,
audience studies are taken into account only as potential consumers
expressed by figures in box office reports, it becomes necessary to
revise approaches to cinema critique and audience studies, studying the
audience's understanding of cinema's role in society. Thus, delving into
demand requirements which today impoverish the chain of commercial
cinema which arose after the standardization of digital cinema in Peru.
This study contributes to the existing literature in the impact of
digital cinema in Latin America and teaching practice in film studies.
UR - https://www.mendeley.com/catalogue/8f4a2da1-22a9-397d-9bb3-dfc9efa0c311/
UR - https://www.mendeley.com/catalogue/8f4a2da1-22a9-397d-9bb3-dfc9efa0c311/
U2 - 10.21125/inted.2020.1872
DO - 10.21125/inted.2020.1872
M3 - Articulo (Contribución a conferencia)
SN - 978-84-09-17939-8
BT - Comedy as a Success Formula in Peruvian Cinema
ER -