Abstract
While actual Andean religious and cultural practices can be traced as influences of the film's fictionalized tiempo santo, in another anthropological analogy, Madeinusa shows Andean religion and culture as processes of resistance precisely by showing products of incomplete Christian evangelization. Besides this, some of the on-screen festival's rites are individualized for the purpose of resisting the intended outcome of the festival: cultural in-group belonging. [...]we see the effects of prolonged contact with Western cultural influences in the isolated Andean highlands. Despite this productivity, they frequently underreport their own economic activity and tend to undervalue their work as secondary; women also become limited to being spoken for by men and excluded from decision-making on communal levels (Framework Gender 1 1-20). Besides negotiating these same problems of familial and community participation and selfdetermination, characters in Madeinusa grapple with interacting within both tradition and the modernity (and postmodemity) associated with urbanization. [...]Saignes relates that the image of the male drinking from one hand and urinating with his member in his other hand shows the importance of contributing to the hydraulic flow, while female urine-since it was thought to be often mixed with menstrual blood-was often used, along with dung, to fertilize the newly sown fields.