The Huni Huin countercolonial cinema

the covert face of colonialism

Abstract

This paper addresses the post-colonial approaches to the cinema about indigenous peoples, focusing on the pragmatic film of historical reversal Huni Kuin by filmmaker Zezinho Yube. The goal is to analyze the postcolonial imagery, the ethnographic film and the indigenous cinema, such as contra- colonial approaches to official history and native agency’s silencing systems. The study is based on post-colonial criticism, as well as in film studies and anthropological perspective. The deconstruction of the official imaging regi- mes of silencing of the indigenous presence in history results from a pragmatic film of reversal of colonial categories, which, under the self-management of the filmic processes and products, converges to the same field: who films, who is filmed and what It is filmed, developing a contracolonial originary cinema.