This paper presents the case study Etsa-Nantu/Cámara-Shuar, an audiovisual creation laboratory in the Ecuadorian Amazon, which generates communication processes in ecoterritorial defense in the face of socio-environmental conflicts triggered by mega-mining intrusion in their territories. Through audiovisual analysis and the communicational practices of the group, the films ¿Quién mató a José Tendenztza? (2017) and Tsunki (2014) are examined, and a reflection is made on the ways in which the ecoterritorial and biocentric turns are expressed in audiovisual stories. The study concludes that the communicational and audiovisual practices of the Etsa-Nantu/Cámara-Shuar laboratory, as films made in, from and with indigenous peoples, are an example of ecoterritorial work carried out from a biocentric perspective. The analysis of the documentary ¿Quién mato a José Tendetza? explains how audiovisual work allows the cooperation of different actors in defense of life and territory, while with Tsunki, critical narrative forms of anthropocentrism were evidenced, which proposes new forms of relationship between humans and non-humans.
|Translated title of the contribution||Etsa-Nantu/Cámara Shuar: Audiovisual practices from ecoterritoriality and biocentrism|
|Number of pages||20|
|Journal||Cuadernos de Musica, Artes Visuales y Artes Escenicas|
|State||Published - Jul 2021|
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