El cine etnográfico indigenista en México y la antropología crítica

Abstract

In this article, I analyze how ethnographic cinema developed in Mexico between the 1960s and 1980s, which progressively detached itself from the hegemonic discourses of assimilationist indigenism and considered more plural frameworks of interrelation between indigenous peoples, anthropologists, and filmmakers. Thus, I propose a dialogue between the thought of a new generation of critical anthropologists such as Arturo Warman and Guillermo Bonfil Batalla, and the ethnographic cinema of Alfonso Muñoz or Federico Weingartshofer. For this, I will analyze three relevant films to observe the mutations that occurred both in anthropological thought and in the production of ethnographic cinema: Él es Dios (1965), Sukiki. Sierra Tarahumara (1976), and Semilla del Cuarto Sol (1982).