Revisionism and Its Discontents: Queer Cinema and Contracorriente (“Undertow”)
Autor(a) principal: | |
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Data de Publicação: | 2014 |
Tipo de documento: | Artigo |
Idioma: | spa |
Título da fonte: | Revista Estudos Feministas |
Texto Completo: | https://periodicos.ufsc.br/index.php/ref/article/view/36556 |
Resumo: | Revisionism and its metaphors seem to be a sign of the times. All throughout contemporary cultural production certain approaches are all too present: homages, pastiches, bricolages, parodies, appropriations, rewrites, among others. Not surprisingly, revisionist cultural genres have gain predominance, and specifically in cinema, the revisionist western-genre film has been much cultivated and discussed. It is, then, equally pertinent to ask whether there is a revisionist queer cinema in general, and by extension, whether there is a revisionist queer cinema in Latin America in particular. If there is indeed a revisionist queer cinema in general, it is likely, and such is our reading, that it will be revising the “in-and-out” logic of queer cinema’s sub-genre par excellence, the “coming-out” story. If there is a revisionist queer cinema in Latin America, it will undoubtedly be more complex, as evinced in the film Contracorriente (“Undertow”: 2009) by Javier Fuentes León. As such, this film prompts a reinterpretation, and not a rejection, of the “traditional”, the “communal”, or “the sacred”, contrary to the generalized logic of so many “coming-out” narratives. A political “negotiation” of terms (Jesus Martín-Barbero), or “ transculturating” (Fernando Ortiz) agencement, is the strategy of use, according to our reading, an operation undoubtedly enabled by the theoretical approaches of Latin America’s Third Feminism (Karina Bidaseca ), the epistemologies of the South (Boaventura de Sousa Santos), and, equally important, Latin America’s Cultural Studies and its beginning of the 20th century’s cultural criticism. |
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Revisionism and Its Discontents: Queer Cinema and Contracorriente (“Undertow”)Fortunas y adversidades del revisionismo: cine queer y contracorrienteRevisionism and its metaphors seem to be a sign of the times. All throughout contemporary cultural production certain approaches are all too present: homages, pastiches, bricolages, parodies, appropriations, rewrites, among others. Not surprisingly, revisionist cultural genres have gain predominance, and specifically in cinema, the revisionist western-genre film has been much cultivated and discussed. It is, then, equally pertinent to ask whether there is a revisionist queer cinema in general, and by extension, whether there is a revisionist queer cinema in Latin America in particular. If there is indeed a revisionist queer cinema in general, it is likely, and such is our reading, that it will be revising the “in-and-out” logic of queer cinema’s sub-genre par excellence, the “coming-out” story. If there is a revisionist queer cinema in Latin America, it will undoubtedly be more complex, as evinced in the film Contracorriente (“Undertow”: 2009) by Javier Fuentes León. As such, this film prompts a reinterpretation, and not a rejection, of the “traditional”, the “communal”, or “the sacred”, contrary to the generalized logic of so many “coming-out” narratives. A political “negotiation” of terms (Jesus Martín-Barbero), or “ transculturating” (Fernando Ortiz) agencement, is the strategy of use, according to our reading, an operation undoubtedly enabled by the theoretical approaches of Latin America’s Third Feminism (Karina Bidaseca ), the epistemologies of the South (Boaventura de Sousa Santos), and, equally important, Latin America’s Cultural Studies and its beginning of the 20th century’s cultural criticism.El revisionismo y sus avatares son el signo de los tiempos. A lo largo y ancho de la producción cultural contemporánea se advierten: homenajes, pastiches, bricolajes, parodias, apropiaciones, reescrituras, entre otras. Echarle una nueva mirada al pasado es parte de la estrategia cultural. A tal efecto, es harto conocido el revisionismo como tratamiento de ideas o producciones culturales, En el cine, se discuten tratamientos revisionistas a los géneros “western”, entre otros. Es pertinente preguntarse si hay un cine queer revisionista en general, y por extensión, un cine queer revisionista en Latinoamérica en particular. De haber un cine queer revisionista en general, es posible que revise el sub-género por excelencia de la narrativa de la “coming-out”. De haber un cine queer en Latinoamérica, su caso será indudablemente más complejo, como lo demuestra el filme “Contracorriente” (2009) de Javier Fuentes León, que leerse en el ensayo. Será un caso que pedirá relectura ya no de rechazo a “lo tradicional”, a “lo comunitario” o a “lo sacro”, como muchas narrativas de la “coming-out”; antes bien, de la “negociación” (Jesús Martín Barbero) o “transculturación” (Fernando Ortiz) de todo ello, como piden los enfoques teóricos del Tercer Feminismo (Karina Bidaseca), de las epistemologías del Sur (Boaventura de Sousa Santos), y de la crítica cultural y Estudios Culturales de Latinoamérica.Universidade Federal de Santa Catarina2014-05-19info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://periodicos.ufsc.br/index.php/ref/article/view/3655610.1590/%xRevista Estudos Feministas; Vol. 22 No. 2 (2014); 617-625Revista Estudos Feministas; Vol. 22 Núm. 2 (2014); 617-625Revista Estudos Feministas; v. 22 n. 2 (2014); 617-6251806-95840104-026Xreponame:Revista Estudos Feministasinstname:Universidade Federal de Santa Catarina (UFSC)instacron:UFSCspahttps://periodicos.ufsc.br/index.php/ref/article/view/36556/28550Copyright (c) 2018 Revista Estudos Feministasinfo:eu-repo/semantics/openAccessBertrán, Dorian Lugo2018-08-14T16:10:38Zoai:periodicos.ufsc.br:article/36556Revistahttps://periodicos.ufsc.br/index.php/ref/indexPUBhttps://periodicos.ufsc.br/index.php/ref/oai||ref@cfh.ufsc.br1806-95840104-026Xopendoar:2022-11-21T11:38:21.679057Revista Estudos Feministas - Universidade Federal de Santa Catarina (UFSC)true |
dc.title.none.fl_str_mv |
Revisionism and Its Discontents: Queer Cinema and Contracorriente (“Undertow”) Fortunas y adversidades del revisionismo: cine queer y contracorriente |
title |
Revisionism and Its Discontents: Queer Cinema and Contracorriente (“Undertow”) |
spellingShingle |
Revisionism and Its Discontents: Queer Cinema and Contracorriente (“Undertow”) Bertrán, Dorian Lugo |
title_short |
Revisionism and Its Discontents: Queer Cinema and Contracorriente (“Undertow”) |
title_full |
Revisionism and Its Discontents: Queer Cinema and Contracorriente (“Undertow”) |
title_fullStr |
Revisionism and Its Discontents: Queer Cinema and Contracorriente (“Undertow”) |
title_full_unstemmed |
Revisionism and Its Discontents: Queer Cinema and Contracorriente (“Undertow”) |
title_sort |
Revisionism and Its Discontents: Queer Cinema and Contracorriente (“Undertow”) |
author |
Bertrán, Dorian Lugo |
author_facet |
Bertrán, Dorian Lugo |
author_role |
author |
dc.contributor.author.fl_str_mv |
Bertrán, Dorian Lugo |
description |
Revisionism and its metaphors seem to be a sign of the times. All throughout contemporary cultural production certain approaches are all too present: homages, pastiches, bricolages, parodies, appropriations, rewrites, among others. Not surprisingly, revisionist cultural genres have gain predominance, and specifically in cinema, the revisionist western-genre film has been much cultivated and discussed. It is, then, equally pertinent to ask whether there is a revisionist queer cinema in general, and by extension, whether there is a revisionist queer cinema in Latin America in particular. If there is indeed a revisionist queer cinema in general, it is likely, and such is our reading, that it will be revising the “in-and-out” logic of queer cinema’s sub-genre par excellence, the “coming-out” story. If there is a revisionist queer cinema in Latin America, it will undoubtedly be more complex, as evinced in the film Contracorriente (“Undertow”: 2009) by Javier Fuentes León. As such, this film prompts a reinterpretation, and not a rejection, of the “traditional”, the “communal”, or “the sacred”, contrary to the generalized logic of so many “coming-out” narratives. A political “negotiation” of terms (Jesus Martín-Barbero), or “ transculturating” (Fernando Ortiz) agencement, is the strategy of use, according to our reading, an operation undoubtedly enabled by the theoretical approaches of Latin America’s Third Feminism (Karina Bidaseca ), the epistemologies of the South (Boaventura de Sousa Santos), and, equally important, Latin America’s Cultural Studies and its beginning of the 20th century’s cultural criticism. |
publishDate |
2014 |
dc.date.none.fl_str_mv |
2014-05-19 |
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info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion |
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article |
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publishedVersion |
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https://periodicos.ufsc.br/index.php/ref/article/view/36556 10.1590/%x |
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https://periodicos.ufsc.br/index.php/ref/article/view/36556 |
identifier_str_mv |
10.1590/%x |
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spa |
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spa |
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https://periodicos.ufsc.br/index.php/ref/article/view/36556/28550 |
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Copyright (c) 2018 Revista Estudos Feministas info:eu-repo/semantics/openAccess |
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Copyright (c) 2018 Revista Estudos Feministas |
eu_rights_str_mv |
openAccess |
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application/pdf |
dc.publisher.none.fl_str_mv |
Universidade Federal de Santa Catarina |
publisher.none.fl_str_mv |
Universidade Federal de Santa Catarina |
dc.source.none.fl_str_mv |
Revista Estudos Feministas; Vol. 22 No. 2 (2014); 617-625 Revista Estudos Feministas; Vol. 22 Núm. 2 (2014); 617-625 Revista Estudos Feministas; v. 22 n. 2 (2014); 617-625 1806-9584 0104-026X reponame:Revista Estudos Feministas instname:Universidade Federal de Santa Catarina (UFSC) instacron:UFSC |
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Universidade Federal de Santa Catarina (UFSC) |
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UFSC |
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UFSC |
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Revista Estudos Feministas |
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Revista Estudos Feministas |
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Revista Estudos Feministas - Universidade Federal de Santa Catarina (UFSC) |
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