Film analysis of the Peruvian film Jarjacha. The demon of incest (2000). Perspectives of Gilles Deleuze and Alan Badiou

Abstract

This article extrapolates cinematographic concepts developed by Gilles Deleuze and Alain Badiou, such as movement, frame, shot and montage. The purpose of corroborating these categories is to articulate them in the feature film by director Melinton Eusebio, Jarjacha. El demonio del incesto (2000), and to detect the concomitant cosmovision that prevails in a locality distant from the capital, characterized by the Andean presence of a tradition and a political organization based on the subjugation of a locality to a mayor, who dictates and punishes through a demonic personification. This analysis will be feasible once the privileged and ordinary instants are differentiated, which comprise the scenes of the film according to their intentionality. In this way, the functioning of the film will be understood from a more forceful and eximious perspective for the spectator, besides the fact that he / she will be able to recognize the moments based on reality and reality.