Exoticism and Otherness in Argentine Cinema: Copacabana (Martín Rejtman, 2006) and Lluvia de jaulas (César González, 2019)

The article addresses the notion of exoticism proposed by Victor Segalen to explore its power to think about some recent Argentine audiovisual productions. The analysis of the particularities of his study of the figure of the exot and his assessment of diversity constitute the basis for evaluating h...

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Autor principal: Veliz, Mariano
Formato: Artículo revista
Lenguaje:Español
Publicado: Facultad de Filosofía y Humanidades. Escuela de Letras 2024
Materias:
exoticism;
documentary film;
Argentine;
César González;
Martín Rejtman
exotismo;
cine documental;
Argentina;
Acceso en línea:https://revistas.unc.edu.ar/index.php/heterotopias/article/view/45392
Aporte de:
Heterotopías de Universidad Nacional de Córdoba
id I10-R333-article-45392
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spelling I10-R333-article-453922024-06-25T02:22:25Z Exoticism and Otherness in Argentine Cinema: Copacabana (Martín Rejtman, 2006) and Lluvia de jaulas (César González, 2019) El exotismo y la otredad en el cine argentino: Copacabana (Rejtman, 2006) y Lluvia de jaulas (González, 2019) Veliz, Mariano exoticism; documentary film; Argentine; César González; Martín Rejtman exotismo; cine documental; Argentina; César González; Martín Rejtman The article addresses the notion of exoticism proposed by Victor Segalen to explore its power to think about some recent Argentine audiovisual productions. The analysis of the particularities of his study of the figure of the exot and his assessment of diversity constitute the basis for evaluating how the circulation of documentary films that construct an exotic point of view on otherness can dismantle certain conventional ways of approaching territories of the Otherness. Copacabana (Martín Rejtman, 2006) and Lluvia de jaulas (César González, 2019) propose exotic journeys through social universes that are strange to their filmmakers: Bolivian immigration in one case and the bourgeois city in the other. The appeal to distanced perceptual devices or the resource to the figure of wandering constitute two different modalities of appearance of exoticism, becoming a privileged disruptive strategy to dismantle the pre-eminence of sameness and propose other conceptions of otherness. El artículo se propone indagar la noción de exotismo planteada por Victor Segalen para explorar su potencia para pensar algunas producciones audiovisuales argentinas recientes. El análisis de las particularidades de su estudio de la figura del éxota y su valoración de lo diverso constituyen la base para evaluar de qué modos la circulación de películas documentales que construyen un punto de vista exótico sobre la otredad pueden desmontar ciertas formas convencionales de acercarse a los territorios de lo Otro. Copacabana de Martín Rejtman (2006) y Lluvia de jaulas de César González (2019) proponen recorridos exóticos por universos sociales que les resultan extraños a sus realizadores: la inmigración boliviana en un caso y la ciudad burguesa en el otro. La apelación a dispositivos perceptivos distanciados o el recurso a la figura de la errancia constituyen dos modalidades diferentes de gestación del exotismo, devenido una estrategia disruptiva privilegiada para desmantelar la preeminencia de la mismidad y proponer otras concepciones de la otredad. Facultad de Filosofía y Humanidades. Escuela de Letras 2024-06-25 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://revistas.unc.edu.ar/index.php/heterotopias/article/view/45392 Heterotopías; Vol. 7 No. 13 (2024): Writings on the edge of the abyss: How is the present constructed?; 1-19 Heterotopías; Vol. 7 Núm. 13 (2024): Escrituras al borde del abismo. ¿Cómo se construye el presente?; 1-19 2618-2726 spa https://revistas.unc.edu.ar/index.php/heterotopias/article/view/45392/45356 Derechos de autor 2024 Heterotopías https://creativecommons.org/licenses/by-nc-sa/4.0
institution Universidad Nacional de Córdoba
institution_str I-10
repository_str R-333
container_title_str Heterotopías
language Español
format Artículo revista
topic exoticism;
documentary film;
Argentine;
César González;
Martín Rejtman
exotismo;
cine documental;
Argentina;
César González;
Martín Rejtman
spellingShingle exoticism;
documentary film;
Argentine;
César González;
Martín Rejtman
exotismo;
cine documental;
Argentina;
César González;
Martín Rejtman
Veliz, Mariano
Exoticism and Otherness in Argentine Cinema: Copacabana (Martín Rejtman, 2006) and Lluvia de jaulas (César González, 2019)
topic_facet exoticism;
documentary film;
Argentine;
César González;
Martín Rejtman
exotismo;
cine documental;
Argentina;
César González;
Martín Rejtman
author Veliz, Mariano
author_facet Veliz, Mariano
author_sort Veliz, Mariano
title Exoticism and Otherness in Argentine Cinema: Copacabana (Martín Rejtman, 2006) and Lluvia de jaulas (César González, 2019)
title_short Exoticism and Otherness in Argentine Cinema: Copacabana (Martín Rejtman, 2006) and Lluvia de jaulas (César González, 2019)
title_full Exoticism and Otherness in Argentine Cinema: Copacabana (Martín Rejtman, 2006) and Lluvia de jaulas (César González, 2019)
title_fullStr Exoticism and Otherness in Argentine Cinema: Copacabana (Martín Rejtman, 2006) and Lluvia de jaulas (César González, 2019)
title_full_unstemmed Exoticism and Otherness in Argentine Cinema: Copacabana (Martín Rejtman, 2006) and Lluvia de jaulas (César González, 2019)
title_sort exoticism and otherness in argentine cinema: copacabana (martín rejtman, 2006) and lluvia de jaulas (césar gonzález, 2019)
description The article addresses the notion of exoticism proposed by Victor Segalen to explore its power to think about some recent Argentine audiovisual productions. The analysis of the particularities of his study of the figure of the exot and his assessment of diversity constitute the basis for evaluating how the circulation of documentary films that construct an exotic point of view on otherness can dismantle certain conventional ways of approaching territories of the Otherness. Copacabana (Martín Rejtman, 2006) and Lluvia de jaulas (César González, 2019) propose exotic journeys through social universes that are strange to their filmmakers: Bolivian immigration in one case and the bourgeois city in the other. The appeal to distanced perceptual devices or the resource to the figure of wandering constitute two different modalities of appearance of exoticism, becoming a privileged disruptive strategy to dismantle the pre-eminence of sameness and propose other conceptions of otherness.
publisher Facultad de Filosofía y Humanidades. Escuela de Letras
publishDate 2024
url https://revistas.unc.edu.ar/index.php/heterotopias/article/view/45392
work_keys_str_mv AT velizmariano exoticismandothernessinargentinecinemacopacabanamartinrejtman2006andlluviadejaulascesargonzalez2019
AT velizmariano elexotismoylaotredadenelcineargentinocopacabanarejtman2006ylluviadejaulasgonzalez2019
first_indexed 2024-09-03T21:10:21Z
last_indexed 2024-09-03T21:10:21Z
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