Unveiling Images: the Visible and the Unspeakable on the Skin We Inhabit
Autor(a) principal: | |
---|---|
Data de Publicação: | 2017 |
Outros Autores: | |
Tipo de documento: | Artigo |
Idioma: | por |
Título da fonte: | Revista Estudos Feministas |
Texto Completo: | https://periodicos.ufsc.br/index.php/ref/article/view/40362 |
Resumo: | This article proposes a reflection on the web of meanings that intertwine Pedro Almodóvar’s The Skin I Live In (2011) plot - these are often contradictory meanings that illuminate the shadow zones in which thought thematizes difference. First, we analyze the explicit discourse of the film, which deals with the plasticity of the body and the fluidity of genre, showing its constructive character when it dissociates itself from fixed and essentialist categorizations. Next, his implicit discourse is analyzed, considering that every film, as a product of social practices, is also constituted by a set of ideas that escape the author’s own intentions. Ultimately, it is a matter of thinking to what extent the implicit discourse of the plot constitutes a kind of counter discourse in relation to what the feature film explicitly proclaims. |
id |
UFSC-11_eb173c92fd7d14fbdb8fdf7c5b64913e |
---|---|
oai_identifier_str |
oai:periodicos.ufsc.br:article/40362 |
network_acronym_str |
UFSC-11 |
network_name_str |
Revista Estudos Feministas |
repository_id_str |
|
spelling |
Unveiling Images: the Visible and the Unspeakable on the Skin We InhabitDesvelando imagens: o visível e o indizível na pele que habitamosThis article proposes a reflection on the web of meanings that intertwine Pedro Almodóvar’s The Skin I Live In (2011) plot - these are often contradictory meanings that illuminate the shadow zones in which thought thematizes difference. First, we analyze the explicit discourse of the film, which deals with the plasticity of the body and the fluidity of genre, showing its constructive character when it dissociates itself from fixed and essentialist categorizations. Next, his implicit discourse is analyzed, considering that every film, as a product of social practices, is also constituted by a set of ideas that escape the author’s own intentions. Ultimately, it is a matter of thinking to what extent the implicit discourse of the plot constitutes a kind of counter discourse in relation to what the feature film explicitly proclaims.Este artigo propõe uma reflexão sobre a teia de significados que entretecem a trama de A pele que habito, de Pedro Almodóvar (2011) – significados estes, não raro, contraditórios, que iluminam as zonas de sombra nas quais o pensamento tematiza a diferença. Primeiro, analisa-se o discurso explícito do filme, que versa sobre a plasticidade do corpo e a fluidez do gênero, demonstrando seu caráter construtivo ao se desvincular de categorizações fixas e essencialistas. A seguir, analisa-se o seu discurso implícito, considerando que todo filme, como produto de práticas sociais, é constituído também por um conjunto de ideias que escapam às próprias intenções do autor. Em última instância, trata-se de pensar em que medida o discurso implícito da trama constitui uma espécie de contra discurso em relação ao que o longametragem explicitamente proclama.Universidade Federal de Santa Catarina2017-10-23info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://periodicos.ufsc.br/index.php/ref/article/view/4036210.1590/%xRevista Estudos Feministas; Vol. 25 No. 3 (2017); 1489-1502Revista Estudos Feministas; Vol. 25 Núm. 3 (2017); 1489-1502Revista Estudos Feministas; v. 25 n. 3 (2017); 1489-15021806-95840104-026Xreponame:Revista Estudos Feministasinstname:Universidade Federal de Santa Catarina (UFSC)instacron:UFSCporhttps://periodicos.ufsc.br/index.php/ref/article/view/40362/35191Copyright (c) 2018 Revista Estudos Feministasinfo:eu-repo/semantics/openAccessBreder, DeboraCoelho, Paloma2018-04-19T11:46:30Zoai:periodicos.ufsc.br:article/40362Revistahttps://periodicos.ufsc.br/index.php/ref/indexPUBhttps://periodicos.ufsc.br/index.php/ref/oai||ref@cfh.ufsc.br1806-95840104-026Xopendoar:2022-11-21T11:38:27.383218Revista Estudos Feministas - Universidade Federal de Santa Catarina (UFSC)true |
dc.title.none.fl_str_mv |
Unveiling Images: the Visible and the Unspeakable on the Skin We Inhabit Desvelando imagens: o visível e o indizível na pele que habitamos |
title |
Unveiling Images: the Visible and the Unspeakable on the Skin We Inhabit |
spellingShingle |
Unveiling Images: the Visible and the Unspeakable on the Skin We Inhabit Breder, Debora |
title_short |
Unveiling Images: the Visible and the Unspeakable on the Skin We Inhabit |
title_full |
Unveiling Images: the Visible and the Unspeakable on the Skin We Inhabit |
title_fullStr |
Unveiling Images: the Visible and the Unspeakable on the Skin We Inhabit |
title_full_unstemmed |
Unveiling Images: the Visible and the Unspeakable on the Skin We Inhabit |
title_sort |
Unveiling Images: the Visible and the Unspeakable on the Skin We Inhabit |
author |
Breder, Debora |
author_facet |
Breder, Debora Coelho, Paloma |
author_role |
author |
author2 |
Coelho, Paloma |
author2_role |
author |
dc.contributor.author.fl_str_mv |
Breder, Debora Coelho, Paloma |
description |
This article proposes a reflection on the web of meanings that intertwine Pedro Almodóvar’s The Skin I Live In (2011) plot - these are often contradictory meanings that illuminate the shadow zones in which thought thematizes difference. First, we analyze the explicit discourse of the film, which deals with the plasticity of the body and the fluidity of genre, showing its constructive character when it dissociates itself from fixed and essentialist categorizations. Next, his implicit discourse is analyzed, considering that every film, as a product of social practices, is also constituted by a set of ideas that escape the author’s own intentions. Ultimately, it is a matter of thinking to what extent the implicit discourse of the plot constitutes a kind of counter discourse in relation to what the feature film explicitly proclaims. |
publishDate |
2017 |
dc.date.none.fl_str_mv |
2017-10-23 |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion |
format |
article |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
https://periodicos.ufsc.br/index.php/ref/article/view/40362 10.1590/%x |
url |
https://periodicos.ufsc.br/index.php/ref/article/view/40362 |
identifier_str_mv |
10.1590/%x |
dc.language.iso.fl_str_mv |
por |
language |
por |
dc.relation.none.fl_str_mv |
https://periodicos.ufsc.br/index.php/ref/article/view/40362/35191 |
dc.rights.driver.fl_str_mv |
Copyright (c) 2018 Revista Estudos Feministas info:eu-repo/semantics/openAccess |
rights_invalid_str_mv |
Copyright (c) 2018 Revista Estudos Feministas |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
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. 25 No. 3 (2017); 1489-1502 Revista Estudos Feministas; Vol. 25 Núm. 3 (2017); 1489-1502 Revista Estudos Feministas; v. 25 n. 3 (2017); 1489-1502 1806-9584 0104-026X reponame:Revista Estudos Feministas instname:Universidade Federal de Santa Catarina (UFSC) instacron:UFSC |
instname_str |
Universidade Federal de Santa Catarina (UFSC) |
instacron_str |
UFSC |
institution |
UFSC |
reponame_str |
Revista Estudos Feministas |
collection |
Revista Estudos Feministas |
repository.name.fl_str_mv |
Revista Estudos Feministas - Universidade Federal de Santa Catarina (UFSC) |
repository.mail.fl_str_mv |
||ref@cfh.ufsc.br |
_version_ |
1789435251581255680 |