chapter  5
Politics and Privatization in Peruvian Cinema: Grupo Chaski’s Aesthetics of Survival: Sophia A. McClennen
BySOPHIA A. MCCLENNEN
Pages 18

One of the foundational tenets of neoliberal economics is that it seeks the privatization of all government functions. The case of the Peruvian fi lm collective Grupo Chaski offers an opportunity to study the ways that political fi lmmakers have responded to the challenges of neoliberalism, which invariably privatizes vital public issues in the same ways that it privatizes national industries.1 Founded in the early 1980s, Grupo Chaski emerged in a context of neoliberalism, state violence, guerrilla resistance, and massive urban growth. Focusing on the experiences of the most disenfranchised sectors of Lima society, Chaski has been dedicated to revolutionizing all components of the fi lmmaking process. From the group’s inception, they have consistently worked on creating alternative modes of exhibition at the same time that they have sought to make their fi lms available to the public via commercial releases, television screenings, videos, and other more mainstream distribution outlets.