According to Didi-Huberman, peoples (already with their own existence in danger) are exposed to disappearing due to the fact that their representation is threatened, the incessant stereotyped reproduction of images that underexpose them turn them into blurred peoples or naked faces. Since the beginning of cinema in Ecuador, the representation of indigenous peoples has been marked by hierarchical models of audiovisual production where a hegemonic and ethnocentric perspective prevails. Several cultural and sociopolitical factors, added to the arrival of new audiovisual technologies (economical and portable) have currently allowed those peoples exposed to disappear to begin to represent themselves, questioning and problematizing the images that have historically represented them.
This text analyzes two examples of indigenous filmmakers and their contribution to Ecuadorian cinema, putting it in discussion with orthodox film production and representation models; proposing ruptures that could influence the construction of new models of narrative structures, new stories, and new ways of making films (training, production, financing, distribution). From theirs points of view, the diversity of views existing within these territories and their alternative ways of self-representation from the Kichwa being and thinking are brought into dialogue, creating new audiovisual imaginaries that claim a new place of enunciation in the face of previous hegemonic practices. To reaffirm, promote and preserve historical memory.