The Bolivarian Revolution, and related Crisis in Venezuela, have been depicted in several films, both fiction and documentary.
In reference to Latin American, but specifically several Venezuelan, films of the 21st century, Kapur and Wagner wrote that film is "an important medium" for representations of the area and that there is "enduring importance of Latin America in the international struggle to break from neoliberalism." [1] :113 They compare the conflicts within the Bolivarian Revolution's bases to the conflicts in Venezuelan filmmaking between the Villa del Cine and independent producers; [1] :121 though the Villa del Cine promotes films with a feeling of "the revolutionary context of Venezuela", its process aims to mimic a Hollywood studio system, marginalizing representation and the communal nature of revolution. [1] :122
Several writers on film also suggest that Western filmmakers are "drawn to" and document the Bolivarian Revolution and Crisis in Venezuela, [1] :113-122 [2] and conclude that accurate media representations of the situation in the country are important. [1] :130 [2] Kapur and Wagner complement some independent national filmmakers for achieving this; they have also criticized films depicting the revolution made both by the Villa del Cine, for turning stories of revolution into romanticized narratives, and internationally, for not managing to present complex full stories of the situation. [1] :113-122
In line with the propaganda nature of national Venezuelan media, depictions of the revolution as successful are often circulated in the nation, with 2002's The Revolution Will Not Be Televised and 2004's Puente Llaguno: Claves de una Masacre still shown regularly as of 2016. [3] :236 Comparatively, depictions of the revolution in a negative light may be censored: in 2019, the horror film Infección , in which characters claim the zombie apocalypse at the center of the narrative was caused by the revolution, was banned. [4]
Year | Title | Country | Director | Ref. |
---|---|---|---|---|
2002 | The Revolution Will Not Be Televised | Ireland | Kim Bartley and Donnacha Ó Briain | [5] |
2004 | Chavez, Venezuela, and the New Latin America | Cuba | Aleida Guevara | |
Puente Llaguno: Claves de una Masacre | Venezuela | Ángel Palacios | [6] | |
X-Ray of a Lie | Venezuela | Wolfgang Schalk | [7] | |
2006 | ¿¡Revolución!? | Canada | Charles Gervais | [8] |
2007 | The People and the President: A Portrait of the Bolivarian Revolution | Norway | Strønen and Wærness | [9] |
2008 | Venezuela: Revolution from the Inside Out | United States | Clifton Ross | [10] |
2009 | Inside the Revolution: A Journey into the Heart of Venezuela | United Kingdom | Pablo Navarrete | [11] |
South of the Border | United States | Oliver Stone | [12] | |
Listen to Venezuela | United States | Jyotsna Kapur and Keith B. Wagner | [1] | |
2014 | "From the Brink: Venezuela Rising" | United States | Joseph Melhuish | [13] |
"Venezuela Divided" episode of Fault Lines | United States | [14] | ||
2015 | Flor de la Mar | Venezuela | Jorge Thielen Armand | [15] |
2016 | El ocaso del socialismo mágico | Italy Venezuela | Michele Calabresi | [16] |
2017 | In the Shadow of the Revolution | Venezuela, United States | J. Arturo Albarrán and Clifton Ross | [17] |
2018 | Chavismo: The Plague of the 21st Century | Venezuela | Gustavo Tovar-Arroyo | [18] |
El pueblo soy yo | Venezuela | Carlos Oteyza | [19] | |
2019 | Colateral | Venezuela | Lucrecia Cisneros | [20] |
2020 | A La Calle | Venezuela | Maxx Caicedo and Nelson G. Navarrete | [21] |
The Crossing | Colombia | Juliana Peñaranda-Loftus | [22] |
Year | Title | Country | Director | Ref. |
---|---|---|---|---|
2005 | Secuestro Express | Venezuela | Jonathan Jakubowicz | [23] |
2006 | Maroa | Venezuela | Solveig Hoogesteijn | |
2009 | Libertador Morales, el Justiciero | Venezuela | Efterpi Charlambidis | [24] |
2010 | Hermano | Venezuela | Marcel Rasquin | [25] |
2012 | Blue and Not So Pink | Venezuela | Miguel Ferrari | [26] |
2013 | Bad Hair | Venezuela | Mariana Rondón | [27] |
2015 | From Afar | Venezuela | Lorenzo Vigas | [28] |
2016 | La Soledad | Venezuela | Jorge Thielen Armand | [29] |
2017 | The Family | Venezuela | Gustavo Rondón | [30] |
2019 | Infección | Venezuela | Flavio Pedota | [4] |
2020 | La Fortaleza | Venezuela | Jorge Thielen Armand | [31] |
Hugo Rafael Chávez Frías was a Venezuelan politician and military officer who served as the 52nd president of Venezuela from 1999 until his death in 2013, except for a brief period of forty-seven hours in 2002. Chávez was also leader of the Fifth Republic Movement political party from its foundation in 1997 until 2007, when it merged with several other parties to form the United Socialist Party of Venezuela (PSUV), which he led until 2012.
The Bolivarian Revolution is an ongoing political process in Venezuela that was started by Venezuelan President Hugo Chávez, the founder of the Fifth Republic Movement and later the United Socialist Party of Venezuela (PSUV), and his successor Nicolás Maduro. The Bolivarian Revolution is named after Simón Bolívar, an early 19th-century Venezuelan revolutionary leader, prominent in the Spanish American wars of independence in achieving the independence of most of northern South America from Spanish rule. According to Chávez and supporters, the Bolivarian Revolution seeks to build an inter-American coalition to implement Bolivarianism, nationalism and a state-led economy.
Mexican cinema dates to the late nineteenth century during the rule of President Porfirio Díaz. Seeing a demonstration of short films in 1896, Díaz immediately saw the importance of documenting his presidency in order to present an ideal image of it. With the outbreak of the Mexican Revolution in 1910, Mexican and foreign makers of silent films seized the opportunity to document its leaders and events. From 1915 onward, Mexican cinema focused on narrative film.
While the Peruvian film industry has not been nearly as prolific as that of some other Latin American countries, such as Mexico or Argentina, some Peruvian movies produced enjoyed regional success. Historically, the cinema of Peru began in Iquitos in 1932 by Antonio Wong Rengifo because of the rubber boom and the intense arrival of foreigners with technology to the city, and thus continued an extensive, unique filmography, with a different style than the films made in the capital, Lima.
Carlos Caridad Montero is a Venezuelan film director, scriptwriter, and journalist, from the Escuela de Cine y Televisión de San Antonio de los Baños, Cuba. He now resides in Caracas.
¿¡Revolución!? is a 2006 political documentary directed by Quebec journalist and filmmaker Charles Gervais. It examines the Bolivarian Revolution led by Venezuelan President Hugo Chávez. It was produced by Télé-Québec, the Quebec government's public television network.
The United Socialist Party of Venezuela is a left-wing to far-left socialist political party which has been the ruling party of Venezuela since 2007. It was formed from a merger of some of the political and social forces that support the Bolivarian Revolution led by President Hugo Chávez.
El Caracazo is 2005 Venezuelan historical film that deals with the events of El Caracazo, the name given to a series of riots and lootings in and around Caracas on 27 February 1989. The film was produced and directed by the veteran Venezuelan filmmaker Román Chalbaud. It is a documentary drama, not only about the titular tragedy but also putting it in historical perspective. The film cost 3 billion bolívares, provided by the Ministry of Culture.
Fundación Villa del Cine is a government-funded Venezuelan film and TV production house that was inaugurated on 3 June 2006 by Venezuelan President Hugo Chávez in the city of Guarenas, near the capital, Caracas.
The cinema of Venezuela is the production and industry of filmmaking in Venezuela. Venezuelan cinema has been characterised from its outset as propaganda, partially state-controlled and state-funded, commercial cinema. The nation has seen a variety of successful films, which have reaped several international awards. Still, in terms of quality, it is said that though "we can point to specific people who have made great films in Venezuela [and] a couple of great moments in the history of Venezuelan cinema, [...] those have been exceptions". In the 21st century, Venezuelan cinema has seen more independence from the government, but has still been described as recently as 2017 to be at least "influenced" by the state.
Aló Presidente was a long-running, unscripted talk show hosted by former Venezuelan President Hugo Chávez. It was broadcast on Venezuelan state television and radio channels, including Venezolana de Televisión, on Sundays from 11:00am until mid/late afternoon. The show was a powerful tool in promoting Chavista socialist ideals of the Bolivarian Revolution to supporters in Venezuela and beyond. Many editions were filmed outdoors before large audiences, commonly featuring a local farm, factory, school, hospital, housing project or other public investment. Although Chávez typically appeared on television several times a week, Aló Presidente was his opportunity to reach most families on their day off.
Bolivarian propaganda is a form of nationalist propaganda, especially in Venezuela and associated with chavismo, Venezuelan socialism. This type of propaganda has been associated with Hugo Chávez's Bolivarian Revolution, which used emotional arguments to gain attention, exploit the fears of the population, create external enemies for scapegoat purposes, and produce nationalism within the population, causing feelings of betrayal for support of the opposition.
Román Chalbaud was a Venezuelan film director, screenwriter, and prominent playwright. Starting work in television after prestigious training, Chalbaud moved into making films before the industry took off in his home country, returning to theatre where he had been a great success for several years until filmmaking became a viable industry. He served as the president of Venezuela's leading theatre, television, and film organisations.
Chavismo: The Plague of the 21st Century is a 2018 documentary film directed by Gustavo Tovar-Arroyo. The film is an analysis of the causes, social, political and economic that caused the rise of Hugo Chávez as president of Venezuela; his abuse of power and the response of civil society, including the student movement; his political fall as well as the secrecy that surrounded his illness and the succession of Nicolás Maduro.
El pueblo soy yo, also known as El Pueblo Soy Yo: Venezuela en Populismo, is a 2018 documentary film directed by Venezuelan filmmaker Carlos Oteyza and produced by Mexican historian Enrique Krauze. It was inspired by Krauze's book of the same name. The film explores the populism of Hugo Chávez.
Libertador Morales, el justiciero, is a comedy-drama film produced by the Villa del Cine Foundation and directed by Efterpi Charlambidis, released on 31 July 2009. It was selected as the Venezuelan entry for the Best International Feature Film at the 82nd Academy Awards, but it was not nominated.
La planta insolente is a 2017 Venezuelan film directed by Román Chalbaud. The film depicts the tenure of Venezuelan President Cipriano Castro. It was a box-office flop and received generally negative reviews from critics.
Colateral is a 2019 Venezuelan documentary directed by journalist Lucrecia Cisneros. The documentary is about extrajudicial executions in Venezuela and their consequences on the affected families. The documentary was awarded several recognitions in film festivals, including in Venezuela the category of best documentary in the Short Film Contest of the National Film School and the International Festival El Grito.
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