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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| Formato: | Artículo revista |
| Lenguaje: | Español |
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Facultad de Filosofía y Humanidades. Escuela de Letras
2024
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| Acceso en línea: | https://revistas.unc.edu.ar/index.php/heterotopias/article/view/45392 |
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| Sumario: | 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. |
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