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            <title xml:lang="en">Cinema and commitment: Yawar Mallku by Jorge Sanjinés</title>
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            <idno type="halRefHtml">&lt;i&gt;Engagement et marginalité des les arts boliviens&lt;/i&gt;, Pablo Virguetti; Alaïs Le Villain; Martín Lombardo, Oct 2025, Angers (Université d'Angers), Francia</idno>
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                <title xml:lang="en">Cinema and commitment: Yawar Mallku by Jorge Sanjinés</title>
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                  <name>Pablo Virguetti</name>
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                <term xml:lang="en">New Latinoamerican cinema; Bolivia; Jorge Sanjinés, Yawar Mallku, commitment</term>
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              <p>This article addresses the first stage of Jorge Sanjinés's cinematic work, which began during the revolutionary government that emerged after the April 9 1952 Revolution, which created the Bolivian Film Institute (ICB) in 1953. The ICB's function was to write and disseminate the official history as conceived by the revolutionary government. Social cinema was born in this context of revolutionary fervour and placed the indigenous population, the majority, at the very heart of social and political debates and filmmaking, in complete alignment with the ideas defended by Sanjinés, for whom cinema is above all a weapon, a means of reflection through which the people can express themselves. This study focuses in particular on Yawar Mallku (1969), Sanjinés' second feature film, in which the search for a language that goes in the direction of denunciation and leads to awareness -a search initiated with the short film Revolución (1963)- is done through the progressive integration of norms and concepts of indigenous culture, that is to say, by the gradual abandonment of the narrative principles of the dominant culture.</p>
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              <p>El presente artículo aborda la primera etapa de la obra cinematográfica de Jorge Sanjinés, que se empieza a elaborar durante el gobierno revolucionario que surgió después de la Revolución del 9 de abril de 1952 que creó el Instituto Cinematográfico Boliviano (ICB) en 1953. La función del ICB consistía en escribir y difundir la historia oficial tal como la concebía el gobierno revolucionario. El cine social nace en ese contexto de efervescencia revolucionaria y sitúa a la población indígena, mayoritaria, en el corazón mismo de los debates sociales, políticos y de la creación cinematográfica en total coincidencia con las ideas defendidas por Sanjinés para quien el cine es ante todo un arma, un medio de reflexión a través del cual el pueblo puede expresarse. Este estudio se concentra en particular en Yawar Mallku (1969), segundo largometraje de Sanjinés en el que la búsqueda de un lenguaje que va en el sentido de la denuncia y lleva a la toma de conciencia -búsqueda iniciada con el cortometraje Revolución (1963)- se hace mediante la integración progresiva de normas y conceptos de la cultura indígena, vale decir por el abandono gradual de los principios narrativos de la cultura dominante.</p>
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