Ignacio M. Sanchez-Prado’s article, Amores Perros: Exotic Violence and Neoliberal Fear, discusses the film entitled Amores Perros and its connection to violence and fear with regards to Latin American culture. Sanchez-Prado’s discusses how viloence has become an influential category in Latin America culture when he states, “Violence is a category that has become increasingly used in Latin American cultural
analysis. It has permitted the construction of a new cultural cartography whose axes are
urban experience and a sense of social instability, both of these instances of the shaping
of a new sense of community” (Sanchez-Prado 2). Sanchez-Prado discusses how Latin America’s urban middle class views themselves. He says that their interests are modified based on “new urban configurations” as well as certain myths which are created regarding the marginalized sectors which is a way of reiterating societies “fears”. Sanchez-Prado reveals the type of violence that is displayed in the film when he states, “Unconsciously, the cinematographic discourse found in Amores perros does not escape Tarantino’s metageneric tendency. It is, partly, a simulacrum of costumbrismo and, partly, an aesthetization of soap-opera melodrama. It is in not Gonza´lez In˜a´rritu was ‘It is part of our nature, unfortunately. It is painful for those who deliver it or receive it, and also confusing. This being against our nature forms part of us.’ Not social, not political, not economic. The violence in Amores perros is natural. And aesthetic” (Sanchez-Prado 49-50).
