<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>0123-4870</journal-id>
<journal-title><![CDATA[Folios]]></journal-title>
<abbrev-journal-title><![CDATA[Folios]]></abbrev-journal-title>
<issn>0123-4870</issn>
<publisher>
<publisher-name><![CDATA[Universidad Pedagógica Nacional ]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S0123-48702024000100184</article-id>
<article-id pub-id-type="doi">10.17227/folios.59-17271</article-id>
<title-group>
<article-title xml:lang="es"><![CDATA[Presencia y ausencia del pueblo en dos películas de José María Arzuaga]]></article-title>
<article-title xml:lang="en"><![CDATA[Presence and Absence of the People in Two Films by José María Arzuaga]]></article-title>
<article-title xml:lang="pt"><![CDATA[Presença e ausência do povo em dois filmes de José María Arzuaga]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Villegas]]></surname>
<given-names><![CDATA[Andrés]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Lee Penagos]]></surname>
<given-names><![CDATA[Juan Camilo]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universidad Nacional de Colombia  ]]></institution>
<addr-line><![CDATA[Medellín ]]></addr-line>
<country>Colombia</country>
</aff>
<aff id="Af2">
<institution><![CDATA[,Universidad Nacional de Colombia  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Colombia</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>06</month>
<year>2024</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>06</month>
<year>2024</year>
</pub-date>
<numero>59</numero>
<fpage>184</fpage>
<lpage>197</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://www.scielo.org.co/scielo.php?script=sci_arttext&amp;pid=S0123-48702024000100184&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.co/scielo.php?script=sci_abstract&amp;pid=S0123-48702024000100184&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.co/scielo.php?script=sci_pdf&amp;pid=S0123-48702024000100184&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="es"><p><![CDATA[Resumen Este artículo de investigación analiza la forma en que las dos primeras películas del director español José María Arzuaga, filmadas en Colombia en la década de 1960, construyen una mirada muy particular sobre la realidad social colombiana. Arzuaga filmó estas obras en el lapso comprendido entre dos años que se han considerado apertura o cierre en las tendencias cinematográficas nacionales: 1961 se concibe como el cierre de la renovación del cine colombiano a mitad del siglo; 1966 ha sido catalogado como el comienzo de la ruptura provocada por la cinematografía explícitamente militante. Además, el director llegó a Colombia en 1960, en la primera etapa del Frente Nacional (1958-1974), una alianza entre los partidos liberal y conservador, los más poderosos y tradicionales, que apuntaba a alternar la presidencia y distribuir milimétricamente la burocracia. Por esto, Arzuaga se encontraba en tierra de nadie en lo político y cinematográfico. Este artículo muestra cómo Arzuaga presenta la ausencia de conciencia política y social en aquellos que son explotados por el desarrollismo en el país, y cómo esto es expresado estéticamente en la realización de sus obras.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract This article analyzes the way the first two films by Spanish director José María Arzuaga, filmed in Colombia in 1960 decade, build a very particular view of the Colombian social reality. Arzuaga filmed these works between two years, which have been considered as &#8216;openings&#8217; or &#8216;closings&#8217; in cinematographic tendencies in Colombia: 1961 is considered as the closing of the renewal of Colombian films at the middle of the century; 1966 has been understood as the beginning of the rupture caused by the explicitly militant cinematography. Furthermore, the director arrived in Colombia in the year 1960, at the first stage of the Frente Nacional (1958-1974), an alliance between the liberal and the conservative parties, the most powerful and traditional ones, that pointed to alternate the presidency and meticulously distribute the bureaucracy. As a result, Arzuaga was in &#8216;no man&#8217;s land&#8217; politically and cinematographically. This article shows how Arzuaga indicates the absence of political and social consciousness in those who are exploited by the &#8216;desarrollismo&#8217; in the country, and how this is expressed aesthetically in the realization of his works.]]></p></abstract>
<abstract abstract-type="short" xml:lang="pt"><p><![CDATA[Resumo Este artigo analisará a maneira como os dois primeiros filmes do diretor espanhol José María Arzuaga, rodados na Colômbia na década de 1960, constroem uma perspectiva muito particular sobre a realidade social colombiana. Arzuaga filmou essas obras no período entre dois anos, que foram consideradas &#8216;aberturas&#8217; ou &#8216;encerramentos&#8217; nas tendências cinematográficas da Colômbia: 1961 é considerado o encerramento da renovação do cinema colombiano em meados do século; O ano de 1966 tem sido entendido como o começo da ruptura provocada pela cinematografia explicitamente militante. Além disso, o diretor chegou à Colômbia em 1960, na primeira fase do Frente Nacional (1958-1974), aliança entre os partidos liberais e conservadores, os mais poderosos e tradicionais, que visava alternar a presidência e distribuir milimetricamente a burocracia. Por esta razão, Arzuaga encontrou-se em &#8220;terra de ninguém&#8221; política e cinematograficamente. Este artigo mostra como Arzuaga indica a ausência de consciência política e social daqueles que são explorados pelo &#8216;desenvolvimentismo&#8217; no país, e como isso se expressa esteticamente na realização de suas obras.]]></p></abstract>
<kwd-group>
<kwd lng="es"><![CDATA[cine colombiano]]></kwd>
<kwd lng="es"><![CDATA[José María Arzuaga]]></kwd>
<kwd lng="es"><![CDATA[pueblo]]></kwd>
<kwd lng="es"><![CDATA[cine y política]]></kwd>
<kwd lng="en"><![CDATA[Colombian cinema]]></kwd>
<kwd lng="en"><![CDATA[José María Arzuaga]]></kwd>
<kwd lng="en"><![CDATA[people]]></kwd>
<kwd lng="en"><![CDATA[film and politics]]></kwd>
<kwd lng="pt"><![CDATA[cinema colombiano]]></kwd>
<kwd lng="pt"><![CDATA[José Maria Arzuaga]]></kwd>
<kwd lng="pt"><![CDATA[povo]]></kwd>
<kwd lng="pt"><![CDATA[cinema e política]]></kwd>
</kwd-group>
</article-meta>
</front><back>
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