Punch of Playa del Futuro
This essay analyzes Futuro Beach (2014) as a queer work, one that challenges traditional formats of melodrama. Director Karim Aïnouz defined his film as a macho melodrama; however, I argue that Futuro Beach disrupts melodrama, its devices and ingredients. The film’s narrative is marked by punches, b...
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| Formato: | Artículo revista |
| Lenguaje: | Español |
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Departamento de Cine y TV, Facultad de Artes, Universidad Nacional de Córdoba
2018
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| Acceso en línea: | https://revistas.unc.edu.ar/index.php/toma1/article/view/20907 |
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I10-R367-article-209072020-11-01T03:56:09Z Punch of Playa del Futuro Golpes de Playa del Futuro Gatti, José Cine queer Género narrativo Homoerotismo Masculinidad Políticas de representación Queer cinema Genre Homoerotics Masculinity Politics of representation This essay analyzes Futuro Beach (2014) as a queer work, one that challenges traditional formats of melodrama. Director Karim Aïnouz defined his film as a macho melodrama; however, I argue that Futuro Beach disrupts melodrama, its devices and ingredients. The film’s narrative is marked by punches, blunt cuts, few dialogues and gaps that prevent closures. Este trabajo aborda Playa del Futuro (2014) como una obra queer que desafía los formatos consagrados del melodrama. A pesar de su director, Karim Aïnouz, haber definido el film como un melodrama de macho, la obra desmonta el género, sus dispositivos e ingredientes. La narrativa es marcada por golpes, cortes bruscos, pocos diálogos y lagunas que previenen cierres. Departamento de Cine y TV, Facultad de Artes, Universidad Nacional de Córdoba 2018-11-01 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://revistas.unc.edu.ar/index.php/toma1/article/view/20907 10.55442/tomauno.n6.2018.20907 Toma Uno; No. 6 (2018): Breakthrough cinemas: New ways of making and thinking about cinema throughout history.; 193-202 TOMA UNO; Núm. 6 (2018): Cines de ruptura: Nuevas formas de hacer y pensar el cine a lo largo de la historia; 193-202 2250-4524 2313-9692 10.55442/tomauno.n6.2018 spa https://revistas.unc.edu.ar/index.php/toma1/article/view/20907/20507 Derechos de autor 2018 José Gatti http://creativecommons.org/licenses/by-nc-nd/2.5/ar/ |
| institution |
Universidad Nacional de Córdoba |
| institution_str |
I-10 |
| repository_str |
R-367 |
| container_title_str |
TOMA UNO |
| language |
Español |
| format |
Artículo revista |
| topic |
Cine queer Género narrativo Homoerotismo Masculinidad Políticas de representación Queer cinema Genre Homoerotics Masculinity Politics of representation |
| spellingShingle |
Cine queer Género narrativo Homoerotismo Masculinidad Políticas de representación Queer cinema Genre Homoerotics Masculinity Politics of representation Gatti, José Punch of Playa del Futuro |
| topic_facet |
Cine queer Género narrativo Homoerotismo Masculinidad Políticas de representación Queer cinema Genre Homoerotics Masculinity Politics of representation |
| author |
Gatti, José |
| author_facet |
Gatti, José |
| author_sort |
Gatti, José |
| title |
Punch of Playa del Futuro |
| title_short |
Punch of Playa del Futuro |
| title_full |
Punch of Playa del Futuro |
| title_fullStr |
Punch of Playa del Futuro |
| title_full_unstemmed |
Punch of Playa del Futuro |
| title_sort |
punch of playa del futuro |
| description |
This essay analyzes Futuro Beach (2014) as a queer work, one that challenges traditional formats of melodrama. Director Karim Aïnouz defined his film as a macho melodrama; however, I argue that Futuro Beach disrupts melodrama, its devices and ingredients. The film’s narrative is marked by punches, blunt cuts, few dialogues and gaps that prevent closures. |
| publisher |
Departamento de Cine y TV, Facultad de Artes, Universidad Nacional de Córdoba |
| publishDate |
2018 |
| url |
https://revistas.unc.edu.ar/index.php/toma1/article/view/20907 |
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AT gattijose punchofplayadelfuturo AT gattijose golpesdeplayadelfuturo |
| first_indexed |
2024-09-03T22:56:58Z |
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2024-09-03T22:56:58Z |
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1809217453585072128 |