Representations of class and marginality in the films of Sebastián Cordero

Abstract

This study analyzes the representations of social inequality and class conflicts in Ecuadorian cinema through the discourse analysis of three films by director Sebastián Cordero: Ratas, ratones y rateros (1999), Pescador (2011) and Sin muertos no hay carnaval (2016). From a qualitative approach, film discourse analysis was used based on a categorical matrix structured on three levels: denotative, connotative and cultural. The films were selected through theoretical sampling for their thematic relevance, social criticism and recognition within national cinema. The theoretical framework addresses inequality as a multidimensional phenomenon linked to structural poverty, social stereotypes and audiovisual narratives. The use of dirty realism as an aesthetic resource that makes marginality visible and promotes critical reflection is also discussed. The results show how the films represent territorial inequalities, structural violence, family fragmentation and tensions between popular and high culture. Symbolisms related to exclusion, drug trafficking, land disputes and death as a consequence of social precariousness are evidenced. It also highlights the way in which cinema contributes to the construction of social imaginaries, reproducing or questioning racial and class stereotypes. In conclusion, Cordero's films portray complex realities and propose a critical look at the social structures that perpetuate inequality in Ecuador. Thus, these works are positioned as cultural tools that invite a deep analysis of the relationship between class, power and culture.