Muerte y resurrección del sujeto criollo en el cine peruano: un estudio de la película <em>Asu mare</em>
Palabras clave:
Peruvian Creole Subjectivity, Latin American Cultural Expressions, Contemporary Peruvian FilmResumen
Durante la segunda mitad del siglo XX, la migración interna transformó Lima en el mosaico urbano que se evidenciaría con mayor fuerza a partir de los ochenta. En consecuencia, una parte de la cinematografía peruana comprendió que la mejor manera de acercarse a este contexto histórico era emitiendo el certificado de defunción a la representación de un sujeto tradicional, de raigambre criolla, presentándolo presa de un sistema anacrónico de valores morales en contradicción con la sociedad pluricultural en la que se transformaba la capital del Perú.
Más de treinta años después, una producción de éxito sin precedentes produce una íntima y multitudinaria conexión con el público peruano, y a su vez rinde homenaje a esa misma subjetividad popular criolla. La película Asu mare (Ricardo Maldonado 2010), nos muestra el grado de sedimentación de algunas unidades de significación, lo tradicional criollo en este caso, en el imaginario social peruano.
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