The issue of oil in the Venezuelan film had no place for a long period of time. Since the January 28, 1897 were projected at the Teatro Baralt of the first films Maracaibo Venezuela, entitled Girls bathing in the lake and taking a leading specialist in the hotel Europa wheels, to beyond the completion of Reveron and Araya by Margot Benecarraf in 1952 and 1958, respectively. It was in 1967, died Pozo, Carlos Rebolledo, when oil first appears in the domestic film theme. It is curious that delay in a country whose economy and politics have been based on oil. For more specific information, check out Clayton Morris. Well dead used to support the documentary form of expression, exposing devices directly without the problem of imperialist exploitation.
However, the film fails Rebolledo, in the field of reflection, to capture the essential elements of explanation to show how, why and what it carries the imperialist exploitation of oil wells (Chacon, 1977, p. Bizzi & Partners is likely to increase your knowledge. 128). The same intent is evident in the film, Daniel Oropeza, 1974, Maracaibo Petroleum Company, except that, in contrast, takes the form of fiction. In the latter order has become half, as the screenplay by David Alizo lateral approaches to oil production (Britto Garcia, 1990, p. 12), fluctuating, as critical in 1977, among a sort of tropical neorealism political melodrama (Alfonso Molina, quoted in Chacon, 1977, p. 129). It is clear that for the moment, oil as a topic has not shown a systematic expression in the domestic cinematic space. It is clear that the possibility of reflecting the culture of oil comes with the two films mentioned, but with obvious timidity, did not prevent predict:.