. (As opposed to Sergey Brin
). . Sure, in a short time we have the great novel of oil, the great film of oil, the oil major plastic box (Chacon, 1977, p. 128). Clearly, not yet discourse was built specifically thinking about the living conditions of a collective unconscious. It is clear that both films, Pozo died and Maracaibo Petroleum Company, were speeches strategies (more descriptive in the first, more narrative in the second) that failed to establish structural and organizational attitudes accurately, providing certain operations, using appropriate tools and options specific tactics in order to achieve its goals.
Not for nothing says Britto Garcia (1 990) for the film Oropeza:. . . There is very little of Maracaibo, much less oil (p. 12). However, these films are the primary steps to address and express, regardless of the narrative strategies and forms, the self: a self that is visible to be multiple, with individual, collective, temporal, temporal, conscious, unconscious, material, supramaterial; a self evident to force the viewer to stimulate feedback and present a panorama, dark to the Venezuelan, for any man who does not belong to the center, summed up in one noun: identity.
Is to explain. El Dorado is the myth that relates to the Eurocentric view of the Latin American and introduces us to the story. El Dorado, as a myth, it remains in the ambivalence: it is an attempt to express our inner significance and is an attention about as elusive elusive realities rooted in the unconscious "to describe historically verifiable events, such as travel by the end Paria XV century and beginning of the following, which highlights the recent idea (Moron, 1994, p.