ABSTRACT Between the decades of 1950 and 1970, a large number of ethnographic documentary films were made in Latin America. At a time when anthropological studies were being transformed and documentary filmmaking underwent a revolution because of new technologies, the films presented themselves as an original product of said cultural, scientific and cinematic changes. This article will study the most emblematic films and the filmmakers with the most extensive filmographies: Humberto Mauro (Brazil), Jorge Ruiz (Bolivia), Manuel Chambi (Peru), Sergio Bravo (Chile), Jorge Prelorán (Argentina), Margot Benacerraf (Venezuela), and Rolf Blomberg (Ecuador), among others. The aim of this article is to inquire into the filmographies and career trajectories of said directors in order to become acquainted with their vision on the popular cultures they documented spanning from the Andes to the coast and from the jungle to the countryside. This article thus intends to present this as the first appearance of a ‘common feeling’ among Latin American filmmakers.

中文翻译：

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拉丁美洲民族志电影院：探索与谴责之间

摘要在1950年至1970年的几十年间，拉丁美洲制作了大量民族志记录片。在人类学研究正在发生变化并且纪录片制作因新技术而发生革命的时候，电影作为上述文化，科学和电影变革的原始产物而呈现出来。本文将研究最具代表性的电影以及电影摄制最广泛的电影人：亨贝托·毛罗（巴西），豪尔赫·鲁伊斯（玻利维亚），曼努埃尔·钱比（秘鲁），塞尔吉奥·布拉沃（智利），豪尔赫·普雷洛兰（阿根廷），玛格特·贝纳切拉夫（委内瑞拉）和罗尔夫·布隆伯格（厄瓜多尔）等。本文的目的是调查这些导演的电影作品和职业轨迹，以使他们熟悉他们所记录的从安第斯山脉到沿海以及从丛林到乡村的流行文化。因此，本文旨在将其呈现为拉丁美洲电影制片人的“共同感觉”的首次出现。