Transitional Justice and Reconciliation through Identification
Transitional Justice and Reconciliation through Identification
Paloma de papel and La teta asustada
This section examines Claudia Llosa’s 2009 film La teta asustada in contrast with Paloma de papel (2003, Fabrizio Aguilar). While the latter promotes traditional, paternalistic, and objectifying images of rural indigenous culture, Llosa’s film, which focuses on indigenous immigrants in Lima, assumes a horizontal position with respect to indigenous communities. With over 40% of its dialogue in Quechua, La teta asustada, both through its circumstances of production and its treatment of its subject matter, is unique in that re-locates national culture and redefines the national subject, suggesting that the future of Peru lies greatly in an urban indigenous culture sustained by an inevitable heterogeneity of knowledges and practices. Furthermore, the film demands a new ethical stance on the part of the larger audience, obliging the public to take a position less of a far-away empathizer and more of solidarity.
Keywords: Claudia Llosa, Fabrizio Aguilar, La teta asustada, Paloma de papel, post-conflict film, indigeneity, Andean migration in Lima, urban Andean culture
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