Santiago Álvarez, Nora de Izcue y los inicios del cine político peruano
Keywords:
Cine político, Perú, Cuba, Santiago Álvarez, Nora de Izcue, Grupo guerrilleroAbstract
Al hacer un repaso entre los principales realizadores y filmes del llamado Nuevo Cine Latinoamericano, la cinematografía peruana está ausente, y pareciera que, en esta, no hubo un cine político, afín al resto del continente. La particularidad del caso peruano, el contar con un gobierno dictatorial progresista con ideas de izquierda (1968-1975), frente al resto de dictaduras del continente, permitió que sea el estado el ente responsable de la producción cinematográfica, ya sea al promulgar la ley de cine 19327 (1972) o, a través de la producción, desde organismos estatales, de diversos cortometrajes.
Un antecedente importante, a este cine político peruano casi desconocido, fue la llegada del cineasta cubano Santiago Álvarez a principios de la década de los setenta, momento en que no había relaciones diplomáticas entre ambos países. Álvarez, a través de los noticieros del ICAIC, registra el restablecimiento de las relaciones diplomáticas. Este hecho permite la primera colaboración cinematográfica entre ambos países: Runan Caycu (De Izcue, 1973)
En el siguiente texto identificamos el vínculo político entre el Perú y Cuba, y como este se constituye, generando un impacto en la cinematografía peruana de mirada político social
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