Aspectos ideologizantes de las familias representadas en los largometrajes dominicanos: Nueba Yol 1 (1995) y Yuniol 2 (2007)
Files
Date
Authors
Subject
discourse analysis
ideology
family
indoctrination
cinema
Dominican Republic
análisis del discurso
ideología
familia
adoctrinamiento
cine
República Dominicana
ideology
family
indoctrination
cinema
Dominican Republic
análisis del discurso
ideología
familia
adoctrinamiento
cine
República Dominicana
Language:
Journal Title
Journal ISSN
Volume Title
Publisher
Instituto Tecnológico de Santo Domingo (INTEC)
En este artículo analizo la representación del rol de la familia en las películas dominicanas Nueba Yol 1, por fin llegó Balbuena (1995), de Ángel Muñiz, y Yuniol 2 (2007), de Alfonso Rodríguez. Parto de los postulados teóricos del sociólogo francés Louis Althusser (1974), quien incluye la familia dentro de los aparatos ideológicos de Estado, ya que en esta se construye la identidad de los hombres y las mujeres mediante un discurso ideologizante expresado a través de intercambios verbales y no verbales. La metodología aplicada es hermenéutica-triangular. Participaron tres grupos controles compuestos, respectivamente, por sociólogos, cineastas y estudiantes de cine. Concluyo afirmando que en la primera película se representa un aparato ideológico débil, carente de discurso familiar. Esta es una característica muy común en algunas familias de inmigrantes en los Estados Unidos de América, cuyos padres dedican casi todo su tiempo al trabajo, delegando su responsabilidad a los ciberamigos, a la televisión, a sus profesores y a los compañeros de aula. En la segunda película los aspectos discursivos de ideología familiar son más evidentes. En ambas producciones se representan las familias para desarrollar una trama de denuncia social, por lo que estas fílmicas pueden resultar idóneas para potenciar la reflexión entre los miembros de la familia posmoderna.
In this article I analyze the representation of the role of the family in the Dominican films Nueba Yol 1, finally arrived Balbuena (1995), by Ángel Muñiz, and Yuniol 2 (2007), by Alfonso Rodríguez. I start from the theoretical postulates of the French sociologist Louis Althusser (1974), who includes the family within the ideological apparatuses of the State, since in it the identity of men and women is constructed through an ideological discourse expressed through verbal exchanges and non-verbal. The applied methodology is hermeneutic-triangular. Three control groups composed, respectively, by sociologists, filmmakers and film students participated. I conclude affirming that in the first film a weak ideological apparatus is represented, lacking family discourse. This is a very common feature in some immigrant families in the United States of America, whose parents devote almost all their time to work, delegating their responsibility to cyberfriends, television, their teachers and classmates. In the second film, the discursive aspects of family ideology are more evident. In both productions, families are represented in order to develop a plot of social denunciation, which is why these films can be ideal to foster reflection among members of the postmodern family.
In this article I analyze the representation of the role of the family in the Dominican films Nueba Yol 1, finally arrived Balbuena (1995), by Ángel Muñiz, and Yuniol 2 (2007), by Alfonso Rodríguez. I start from the theoretical postulates of the French sociologist Louis Althusser (1974), who includes the family within the ideological apparatuses of the State, since in it the identity of men and women is constructed through an ideological discourse expressed through verbal exchanges and non-verbal. The applied methodology is hermeneutic-triangular. Three control groups composed, respectively, by sociologists, filmmakers and film students participated. I conclude affirming that in the first film a weak ideological apparatus is represented, lacking family discourse. This is a very common feature in some immigrant families in the United States of America, whose parents devote almost all their time to work, delegating their responsibility to cyberfriends, television, their teachers and classmates. In the second film, the discursive aspects of family ideology are more evident. In both productions, families are represented in order to develop a plot of social denunciation, which is why these films can be ideal to foster reflection among members of the postmodern family.
Description
Type
info:eu-repo/semantics/article
info:eu-repo/semantics/publishedVersion
info:eu-repo/semantics/publishedVersion
Source
Science and Society; Vol. 43 No. 2 (2018): Ciencia y Sociedad; 35-50
Ciencia y Sociedad; Vol. 43 Núm. 2 (2018): Ciencia y Sociedad; 35-50
2613-8751
0378-7680
10.22206/cys.2018.v43i2
Ciencia y Sociedad; Vol. 43 Núm. 2 (2018): Ciencia y Sociedad; 35-50
2613-8751
0378-7680
10.22206/cys.2018.v43i2