Cultural melancholy and moral perfectionism in Robles Godoy’s The Green Wall
Bibliographic Data
| ID | 11953405 |
|---|---|
| Authors | Victor J Krebs (0000-0001-6989-3095, Pontificia Universidad Católica del Perú, Departamento de Humanidades, Avenida Universitaria 1801 , San Miguel, Lima 15088, corresponding author) |
| Year | 2025 |
| Volume | 59 |
| Issue | 5-6 |
| Pages | 981-996 |
| Publication date | 2025-10-01 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Journal of Philosophy of Education (JOURNAL) |
| Journal identifiers | ISSN: 0309-8249 • E-ISSN: 1467-9752 |
| Publisher | Oxford University Press (OUP) (PUBLISHER) |
| DOI | 10.1093/jopedu/qhaf078 |
| OpenAlex | W4416177351 |
| Language | EN |
| Citations received | 1 |
| References cited | 4 |
The film’s depiction of a family seeking renewal in the jungle, only to be devastated by tragedy, stages an encounter with the limits of human mastery over nature, the fragility of social bonds, and the inevitability of grief. Read against the background of Latin America’s colonial legacy, Cavell’s Emersonian call to the ordinary provides a counterpoint to the region’s inherited scepticism and its persistent ‘cultural melancholy’, marked by the tension between cosmopolitan ideals and autochthonous realities. In this light, Robles Godoy’s film can be seen not only as a reflection of Perú’s fractured history but also as an instance of cinema’s philosophical power: its capacity to reawaken democratic hope and ecological awareness, and to enact what Cavell describes as an ‘education for grown-ups’—a conversion grounded in mourning, finitude, and the possibilities of moral responsiveness
Colonialism · Counterpoint · Democracy · Depiction · Harmony (color · Perfectionism (psychology · Political philosophy · Politics · Skepticism · Ethics, Aesthetics, and Art · Latin American Literature Studies · Literature, Magical Realism, García Márquez
| Citations per year | 1 |
|---|---|
| Citation span | 2025 - 2025 (1) |
| Highly cited | No |