El primer plano en "Yawar Mallku" (1969): Rostros anónimos e imágenes-reflectantes

Abstract

This article is the result of a frame-by-frame analysis of Jorge Sanjinés' film: Yawar Mallku (1969). The analysis focuses on the functions performed by the close-up in the film. The hypothesis is raised that this technique does not seek to express the individuality of a character. On the contrary, facial images are reflective surfaces that allow describing a space or serve as vehicles for metaphor. Hence, specific individuals merge into collectivity by treating them as anonymous faces, that is, without inherent value.

This analysis aims to contribute to understanding Sanjinés' body of work, based on a non-teleological model of understanding. In other words, without succumbing to the temptation of assuming that all films following Yawar Mallku are "preparations" leading to Sanjinés' masterpiece, La nación clandestina (1989).