Un abordaje interdisciplinar de un relato cinematográfico : aproximación a la película El último malón (1917) desde la Antropología y la Historia
Fecha
2012-12
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Universidad Nacional de Rosario. Facultad de Humanidades y Artes. Centro de Estudios Sobre Diversidad Cultural.
Resumen
Descripción
La película El último malón reconstruye el levantamiento que los aborígenes mocovíes llevaron
adelante en el año 1904 en la localidad de San Javier (provincia de Santa Fe, Argentina). Dicha
película fue filmada en 1917 por un destacado político, jurista y escritor sanjavierino (Alcides
Greca), con la participación de los propios aborígenes que habían sido protagonistas del conflicto
trece años antes, así como también con la de muchos “blancos” (criollos e inmigrantes) que
habían sido testigos del mismo. El film manifiesta el objetivo de documentar un hecho histórico
y, en tanto pionero del cine mudo argentino, posee gran valor cinematográfico, histórico y
antropológico, razón por la cual planteamos un abordaje interdisciplinario del conflicto y de la
visión que presenta dicha obra. Es decir, se realizará un análisis de la película y de su modo de
abordar la problemática, así como de algunos aspectos de su contexto de producción. A la vez, la
articularemos con un análisis sobre el levantamiento mocoví, que incluye su reconstrucción a
partir de fuentes de la época y la investigación acerca de la reactualización del conflicto entre la
actual población de la región. En síntesis, nos proponemos analizar la imagen del indígena que se
proyecta a través de la película, vinculándola con su contexto y con el rol que esta obra
cinematográfica ha ocupado para la construcción del pasado.
The film El último malón reconstructs the uprising led by the mocovi aborigines in 1904 in the town of San Javier (Santa Fe, Argentina). This movie was filmed in 1917 by a well-known politician, jurist and writer born in that same town (Alcides Greca), and it counted with the participation of most of the same aborigines that had taken part in the conflict thirteen years before, as well as with many white people (creoles and immigrants) that had also been involved in it. The aim of the film is to document this historical event and, as one of the first silent movies in Argentina, it has a great cinematographic, historical and anthropological value. This is why we propose an interdisciplinary approach of the conflict and of the vision of it that is presented by this movie. That is, we will analyze this work and its way of treating the problem, as well as some aspects of the context of its production. At the same time, we will articulate it with an analysis of the mocovi uprising, which includes its reconstruction with sources from that time and research about the reenactment of the conflict among the current population in the area. On the whole, we intend to analyze the image of aborigines that is projected throughout the film, relating it to its context and to the role it has played for the construction of the past.
The film El último malón reconstructs the uprising led by the mocovi aborigines in 1904 in the town of San Javier (Santa Fe, Argentina). This movie was filmed in 1917 by a well-known politician, jurist and writer born in that same town (Alcides Greca), and it counted with the participation of most of the same aborigines that had taken part in the conflict thirteen years before, as well as with many white people (creoles and immigrants) that had also been involved in it. The aim of the film is to document this historical event and, as one of the first silent movies in Argentina, it has a great cinematographic, historical and anthropological value. This is why we propose an interdisciplinary approach of the conflict and of the vision of it that is presented by this movie. That is, we will analyze this work and its way of treating the problem, as well as some aspects of the context of its production. At the same time, we will articulate it with an analysis of the mocovi uprising, which includes its reconstruction with sources from that time and research about the reenactment of the conflict among the current population in the area. On the whole, we intend to analyze the image of aborigines that is projected throughout the film, relating it to its context and to the role it has played for the construction of the past.
Palabras clave
El último malón, Rebelión mocoví, Proceso histórico, Relato cinematográfico, Construcción del pasado, Mocoví rebellion, Cinematographic narration