Running Head: FULFILLMENT THROUGH INTERCULTURAL RELATIONSHIPS 1
Fulfillment Through Intercultural Relationships: A Rhetorical Analysis of the Ecuadorian film
Que Tan Lejos
Maria Molina
Department of Communication
West Texas A&M University
Canyon, TX 79016
Email: mdmolina1@buffs.wtamu.edu
Phone: 806-317-8179
COMM 4301: Introduction to Rhetorical Criticism
Fall 2011
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Abstract
This paper uses Generative Criticism to demonstrate the strength of intercultural relationships
when developing an understanding of self. Focusing on the film Que Tan Lejos, this paper
analyzes how intercultural relationships are a stronger force than social identity. The director,
Tania Hermida, uses symbols in order to define the typical Ecuadorian citizen. She also contrasts
the main characters’ pessimism and positivism in order to give a social identification of each.
Hermida depicts how despite their strong social identity, the characters’ friendship and
intercultural relationship forces them to reevaluate their idea of fulfillment. This analysis focuses
on the character of Tristeza and her development throughout the film.
Key words: Social Identity Theory, intercultural relationships, pessimism, positivism, Que Tan
Lejos
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Fulfillment Through Intercultural Relationships: A Rhetorical Analysis of the Ecuadorian film
Que Tan Lejos
Not two people have the same goals in life or the same idea of fulfillment. People
experience different events that shape their personality and identity. Many believe that the main
way in which a person reaches an understanding of self is through social identity. In other words,
the different beliefs and values that we grow up in are the main factors that shape human beings.
However, I argue that intercultural relations are a stronger force than social identity when it
comes to a person’s establishment of fulfillment. In this paper I use Generative Criticism to
examine the tension between social identity and intercultural relationship in the Ecuadorian film
Que Tan Lejos directed by Tania Hermida.
Description of the Artifact
For this analysis I use the movie Que Tan Lejos (Hermida), an Ecuadorian comedy
directed by Tania Hermida, filmed entirely onsite. The film depicts the Ecuadorian culture and
its positive and negative aspects. Many have characterized the film as a “portrait of Ecuadorian
life” (Que tan lejos, 2008), which cannot really be understood by viewers who have not been in
Ecuador. The film is not only a reflection of the culture, but also a critique of how the society we
are raised in shapes our idea of fulfillment.
The 2006 production tells the story of Esperanza, a Spanish tourist, as she crosses paths
with Tristeza, a cynical and pessimistic Ecuadorian student. Esperanza, on one hand, has an
energetic personality as she loves to travel and experience life. Conversely, Tristeza is tired of
picturesque South America and learns the love of her life is getting married in Cuenca so she
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decides to go to the city and stop the wedding. The characters meet at the bus going to Cuenca.
After being stranded in the countryside because of a strike, both characters attempt to travel to
their destination by any means possible. In their journey they encounter a man, Jesus,
transporting the ashes of his grandmother who died. He also needs to travel to Cuenca, so he
joins both women in the journey (Hermida, 2006). As their trip continues the two women are
prompted to “reevaluate their expectations regarding their quest for fulfillment” (Buchanan,
2006). In this paper, I focus on Tristeza and her particular search for self-realization.
The director, Tania Hermida was born in Cuenca, Ecuador in 1968. During her
childhood, Hermida moved and lived in different places because of her father’s job. Despite her
constant relocations she maintained a close link to her native city and her family. When she
graduated, she entered the medical field, however she soon realized that was not the place for
her. She then tried different artistic fields and discovered her passion for the film industry. Since
Ecuador did not offer any education in filmmaking, she went to the “Escuela Internacional de
Cine y TV de San Antonio de Los Baños” in Cuba. The school taught Hermida a different
approach to film. “It was proposed to reinvent film based on what we are as a culture. It was not
only based on technique or art, but also in the search and opening paths,” she said (Tania
Hermida, n.d.).
In 1992 she returned to Ecuador and faced a country in which the film industry was not
popular. She then completed her Masters degree in Cultural Studies and travelled to Cuba, the
United States, Spain and Chile. However, she realized her future was in Ecuador and not abroad.
In her return to her home country Hermida participated with other colleagues in the creation of
the “Corporación Ecuador para Largo,” (Tania Hermida, n.d.) a corporation for the development,
production and distribution of the independent films (Nosotros-Corporación, n.d.). The idea of
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working on her first full-length film was born (Tania Hermida, n.d.).
In 2003, Hermida started writing what became Que Tan Lejos. The film has been seen by
more than 200,000 viewers in Ecuador and received international acclaim as well. In fact, the
film won two awards: “El Zenith de Plata de Óperas Primas en Festival de Cine de Montréal”
and the second award in the “Festival Internacional del Nuevo Cine Latinoamericano de Cuba”
(Tania Hermida, n.d.).
Ecuador’s history and current status
In many aspects, Ecuador’s history has been a major factor in the development of the
national identity of its population (Ecuador, 2011). Therefore, in order to understand the
Ecuadorian people it is important to understand their history. The first inhabitants of the country
settled along the coast and central highlands as far back as 20,000 B.C. Later, agrarian cultures
established settlements and developed navigation, distinct art, religion and trade that reached as
far north as Central America. In the mid 15th century, the Incas, based in Peru, attacked these
settlements and imposed their culture. However, in 1532, the Spaniards led by Francisco Pizzarro
fought the Incas and conquered Ecuador. “The Spanish named their conquered territory the
Audiencia de Quito” (Alfaro, 2010).
After various years of Spanish rule, Ecuador got its independence led by Antonio José de
Sucre. His troops defeated the Spaniards on May 24, 1822 in the flanks of Pichincha volcano, in
what is known as the Battle of Pichincha (Alfaro, 2010). After the Battle of Pichincha, the
country joined the Confederation of Gran Colombia, which also included present day Colombia
and Venezuela (Ecuador, 2011). In 1839, Ecuador became an independent republic “and began a
tumultuous history racked with ethnic clashes and dominated by a white, European-oriented
oligarchy” (Ecuador, 2011).
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Since its independence, Ecuador has experienced political and cultural conflicts. Ecuador
has been in general free from international conflict. However, the territorial conflicts with Peru
that started in 1941 and ended with the 1998 peace agreement, marked an unstable era
(Lee & Halcli, 2011). Politically, Ecuador has been marked by instability and violence. Through
the 20th century provisional governments and military juntas governed the country. It was not
until 1979 that democratic rule was restored. Currently, Ecuador’s leader is Rafael Correa who
has been the 12th president to serve since democracy was restored in 1979 (Alfaro, 2010).
Today, Ecuador has an area of 276, 849 square kilometers and has a population of
14,306,876 as of the 2010 census. The official language is Spanish, however several indigenous
languages, especially Quichua, are still present (Republic of Ecuador, 2011). An average of 33
percent of the population are below the poverty line and the unemployment rate averages 7.6
percent as of 2010 (South America: Ecuador, 2011).
Methodology
The method I use for this analysis is Generative Criticism. Foss (2009) explains the critic
uses nine steps when engaging in this type of criticism: encountering a curious artifact, coding
the artifact in general, searching for an explanation, creating an explanatory schema, formulating
a research question, coding the artifact in detail, searching the literature, framing the study and
writing the essay (p. 387).
In the first step the critic finds an artifact of interest. According to Foss (2009), the
artifact that intrigues a critic is likely to be something that doesn’t fit or doesn’t follow a
particular pattern. After encountering the artifact, the critic codes the artifact. “In this process of
identifying major features of the artifact, use intensity and frequency as your selection criteria”
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(Foss, 2009, p. 389). After examining the artifact several times, more information about the
artifact’s major elements and their relationships are evident.
The next two steps are to search for an explanation of the artifact and create an
explanatory schema. “What is most likely to happen after searching for an explanation of you
artifact is that you will find a theory or construct that explains some pieces of your artifact but
not all of them” (Foss, 2009, p. 394). If a conventional explanation for the artifact does not exist,
the critic must develop an explanatory schema. “An explanatory schema is a framework for
organizing your insights about the artifact in a coherent and insightful way” (Foss, 2009, p. 394).
This explanatory schema does not only provide an explanation for the artifact, but it also serves
as the structure of the essay the critic writes.
Once the explanatory schema answers the questions that led the critic into an explanation
of the artifact, the critic formulates a research question. The critic then codes the artifact one
more time. This time, using the elements of the explanatory schema. Foss describes that through
this process “you are developing the explanatory schema you have seen until now only in general
terms, working on kinks conceptualizing aspects of it you did not think through before, refining
it, and extending it” (Foss, 2009, p. 401).
When the critic has a schema that explains the artifact insightfully and comprehensibly,
the critic does a small literature review of the key concepts of the schema. When coding the
literature, the critic identifies ideas that are relevant for the criticism. The last step before writing
the essay is to decide how to frame the explanatory schema “so that it can contribute to a
significant conversation in the communication discipline” (Foss, 2009, p. 403). After the analysis
has been completed the critic writes the essay.
As part of step four of Generative Criticism, the critic creates an explanatory schema of
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the artifact. I use Social Identity Theory developed by Tajfel and Turner (Tajfel, 1982).
According to Tajfel (1982), the term “is understood as the part of the individuals´ self-concept
which derives from their knowledge of their membership of a social group (or groups) together
with the value and emotional significance attached to their membership” (p. 2). In this theory the
self is reflexive, meaning that “it can take itself as an object and can categorize, classify, or name
itself in particular ways in relation to other social categories or classifications” (Stets, 2000, p.
224). In Social Identity Theory this process is referred to as self-categorization, through which
identity is formed.
In Social Identity Theory, a social identity is defined as the person’s knowledge that he or
she belongs to a social group or category. Stets (2000) defines social group as “a set of
individuals who hold a common social identification or view themselves as members of the same
social category” (p. 225). Self-categorization and social comparison produce different
consequences. The consequence of self-categorization is the accentuation of perceived difference
between the members of the social group and those outside. “This accentuations occurs for all
the attitudes, beliefs and values, affective reactions, behavioral norms, styles of speech, and other
properties that are believed to be correlates with the relevant intergroup categorization” (Stets,
2000, p. 225). On the other hand, the consequence of social comparison is the application of the
accentuation effect in a selective manner. This is done to self-enhance outcomes of the self.
According to Stets (2000), people develop their identity or sense of self largely based on the
social category to which they belong. However, each person is a member of a combination of
social categories experienced through life. Therefore, the “set of social identities making up that
person’s self-concept is unique” (Stets, 2000, p. 225). Social Identity Theorists recognize that
individuals construct their sense of selves in terms of the meanings conveyed by a structured
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society.
Analysis
In this analysis I focus on Tristeza and her development throughout the film in order to
show how intercultural relations are a stronger force than social identity when it comes to a
person’s sense of fulfillment. This analysis is divided in four sections. The first explains the
different symbols, which form the typical Ecuadorian citizen’s beliefs and values. These symbols
form the social identity of the citizens in Ecuador. The second contrasts the idea of pessimism
and positivism, which help to define the main characters of the film and their interactions. The
third section explains the difference in social identity between Tristeza and Esperanza based on
their culture and country of birth. The final section analyzes reevaluation and how the friendship
developed with Esperanza helps Tristeza to realize what was wrong in her life, inspiring her to
change her goals and aspirations in her life.
A Typical Ecuadorian
Historically, Ecuador has been a country that has struggled in its politics and economy.
This is reflected in the film through the “paro” or strike in the movie. This event is a typical
event in Ecuador. The majority of times people cannot even identify the reason for the strikes. In
Que Tan Lejos, the strike symbolizes instability in the country, which in turn leads to a lack of
self-esteem of the citizens of Ecuador. It also causes citizens to view their country in a negative
light despite other positive aspects the country has. This is evident through the girl the characters
meet when they make a stop during their trip. When Esperanza says that Ecuador is beautiful the
girl replies, “ Of course something different is to do tourism, but all foreign people like it,
apparently Ecuador is pretty” (Hermida, 2006). The girl’s tone of voice is negative when talking
about Ecuador, something typical of Ecuadorian citizens. Despite having a country rich in
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natural resources and scenery, citizens are unable to view the beauty of their country and only
emphasize the negative aspects of it.
Another cultural reflection portrayed in Que Tan Lejos is the lady that Esperanza and
Tristeza meet at the bus. The lady is with her daughter who tells her mother she is thirsty. When
Esperanza offers her water, the lady gets upset with the girl and tells her she is spoiled and
impolite. After Esperanza gives her water, the child stops talking and only repeats what her
mother tells her to say (Hermida, 2006). This event symbolizes how Ecuadorians are raised with
the fear of being reprimanded for everything they do. Citizens are culturalized with the idea that
they are never going to do something totally right, placing themselves in the position of the
victim.
The idea of victimization is also seen when the taxi driver at the beginning of the film
leaves Esperanza at her hotel. When Esperanza pays him, he has no change and says he does not
think the $5 matter because in Spain they make a lot of money. Esperanza gets upset at this, but
decides to walk away saying “this is a robbery” (Hermida, 2006). The taxi driver replies that his
uncle was right when he said to be careful with the Spanish. According to him they already took
all the treasures from the Incas and now they come pretending to be better (Hermida, 2006). This
example reinforces the idea of history. Since Spaniards conquered Ecuador, the country has
constantly lost wars and land. This has had a negative connotation on citizens who now play the
victim’s role and think of the country as inferior.
However, not all symbols in Que Tan Lejos portray Ecuadorian as negative and with a
pessimistic view. The film also depicts the Ecuadorian society as friendly and engaged in
conversation. An example is when Andrés, a secondary character, hears on the radio that his
soccer team scored a goal. He gets out of the car with his team’s flag and starts dancing and
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celebrating (Hermida, 2006). This scene reflects the importance of soccer to citizens and how it
is a means through which citizens become unified. There are countless examples of Ecuadorians’
happiness and willingness to help each other. In fact, in every stop the main characters make,
they encounter different people that help them. Despite the strike, the characters have no
difficulty getting to Cuenca because they always find someone to help.
The movie depicts how the aforementioned symbols help shape the Ecuadorian society
giving citizens a sense of belonging. This symbols form a very important part of citizens’ lives
and ultimate goals. Tristeza is a typical Ecuadorian, however the relationship she forms with
Esperanza helps her develop as a person. Even though she has a strong social identity, what she
learns from Esperanza helps her change her overall goal.
Pessimism vs. Positivism
The idea of fulfillment in Que Tan Lejos is seen through the personalities of the two main
characters. On one hand, Tristeza (Sadness) depicts the typical pessimism of Ecuadorian citizens,
which, as mentioned earlier, has been a characteristic developed throughout history. She is
always complaining about situations without really applying a good logic to them. For example,
when the characters encounter the “paro” or strike, Tristeza tries to explain why she is in favor of
it. However, she is not able to get her idea across with logic and facts. On the other hand,
Esperanza (Hope) is always trying to see the positive aspects in situations. She is always filming
with her hand held camera, capturing the beautiful scenery of Ecuador. The character explains
she always films when she travels so she can capture the moments she likes (Hermida, 2006).
Another example depicting the concepts of pessimism vs. positivism is the vague goals
that each women has at the beginning of the film. On one hand, Tristeza is convinced that she
wants to stop her “boyfriend’s” wedding, but she is not even sure if he is still her boyfriend or
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not. According to her, his parents are forcing him to get married, but she is not really sure about
what her relationship status is. Every time she mentions her “boyfriend’s” family she refers to
them in negative terms. For example when Tristeza explains the situation to Esperanza and Jesus,
she refers to them as “aniñados” and “curuchupas” (Hermida, 2006). In Ecuador these terms are
used to refer to high-class people in a degrading way. However, she does not know her
“boyfriend’s” parents and she does not know if her “boyfriend” actually wants to get married or
not. As the movie develops, she gives clues to let the audience realize that he wants to get
married and is not really interested in Tristeza at all. Even though deep inside she knows this,
Tristeza is still determined to stop the wedding.
On the other hand, Esperanza seems to be sure about her self, but reveals she actually
questions her objectives. When Tristeza and Esperanza are sitting in the mountains after they got
out of the bus Esperanza says, “It is so weird to be here” (Hermida, 2006). She explains this
questioning tends to occur when she is traveling and she asks herself who she is and what is she
doing so far away from home. Even though she questions her goals, she says she always carries a
picture of herself as a small girl. In the picture she is smiling, symbolizing that even if her goals
are not clear, Esperanza likes to maintain a positive attitude.
Social Identity
Through the previous sections of this analysis, the social identification of Tristeza and
Esperanza are evident. In the case of Tristeza, she self-categorizes herself as a typical Ecuadorian
who has developed a pessimistic view of the world. As a consequence of this self-categorization,
there is an accentuation of the differences between both characters, which is revealed through the
contrast between Tristeza’s pessimism and Esperanza’s positivism. This dichotomy is what
causes the characters to develop through their friendship and in turn reevaluate their idea of
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fulfillment and goals in life. In other words, despite their strong social identification, the
intercultural relationship between the characters is a stronger force that prompts the characters to
adapt to each other and take aspects from each culture in order to reach a better understanding of
fulfillment.
Reevaluation
The main characters’ friendship helps them to learn from each other and reevaluate their
goals and objectives. As mentioned earlier, this analysis focuses on Tristeza and her
development throughout Que Tan Lejos. Even though Esperanza was the main influence of her
reevaluation, the catalyst of change is when she sees her “boyfriend” at his wedding. He is happy
and when he sees Tiristeza, he ignores her and kisses his wife (Hermida, 2006). Tristeza then
realizes she needs to change and decides to apply what she learned from Esperanza in order to
redefine her idea of fulfillment.
After the wedding, Tristeza and Esperanza go to the river to throw Jesus’ grandmother’s
ashes. Jesus forgot them on the bus and left as both women fell asleep in the bus. They decide to
finish Jesus’ journey. His grandmother’s will was for her ashes to be thrown in the Tomebama
river in Cuenca (Hermida, 2006). This event also serves as a symbol of transition and the
beginning of a new quest for fulfillment. Tristeza is willing to set new goals in her life and the
throwing of the ashes symbolizes the willingness the character has to adapt and learn from
Ezperanza. She is throwing away the past and starting again with new goals in mind.
In the last scene of the film Tristeza reveals her real name, Teresa, which also symbolizes
the willingness of the character to leave her pessimism behind. As mentioned previously,
Tristeza means sadness. The character wants to leave that sadness behind and apply her friend’s
concept of positivism to continue with her life. During this last scene, Teresa says, “It is so weird
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to be here” (Hermida, 2006). She applies the way of thinking that Esperanza had. She knows she
does not have her life completely figured out, however she knows one thing: she wants to be
happy and leave pessimism behind. She starts to question the idea of fulfillment she previously
had and knows it is time to redefine and reevaluate her life.
Que Tan Lejos is a film that has helped shape the perceptions Ecuadorians hold about
their culture. Rybacki and Rybacki (2002), explain that through films a person can visualize the
past, gain insight of the present, and speculate about the future. Herminda’s film helps define
Ecuadorian social trends and how the past has played an important role in shaping those trends.
Similarly, it challenges Ecuadorians into changing some aspects of their culture and adapting
ways of thinking from other cultures. Through the Ecuadorian characters in the film, especially
Tristeza, citizens have a clear portrayal of the negative and positive aspects of their culture. This
makes them question their society and challenge their perceptions and sense of fulfillment.
Conclusion
Despite the common belief that social identity are the primary way in which a person
reaches an understanding of self, Que Tan Lejos demonstrates that intercultural relationships is
an even stronger force. Through the film, Director Tania Hermida depicts the typical Ecuadorian
citizens and their pessimism. She shows the dichotomy between Tristeza, who is Ecuadorian, and
Esperanza, from Spain. However, she portrays how through her friendship with Esperanza,
Tristeza is able to reevaluate her goals in life. Triztesa takes the aspects she likes from Esperanza
and incorporates them in her own life in order to change her understanding of fulfillment.
Implications for Further Research
This study uses Generative Criticism and Social Identity Theory, however other methods
of criticism could also be applied to analyze Que Tan Lejos. An Ideological Criticism analysis of
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this artifact could lead to an understanding of the ideologies formed through the film. Another
effective method for analyzing the movie is Metaphoric Criticism. Metaphors illustrated in the
artifact could also lead to a better understanding of the film.
Another area of future study in Que Tan Lejos is an analysis of how history influences the
development of a country’s self-esteem. The film reveals the resentment of Ecuadorians towards
the Spanish because of history. An analysis of this sentiment could add to the understanding of
self-identification, social identity and intercultural relationships.
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