Narrative subjection and familiar emotions: About El silencio es un cuerpo que cae by Agustina Comedi
The interest in examining a documentary such as El silencio es un cuerpo que cae by Agustina Comedi (2017) is not limited to the analysis of the author's biographical record of her father's sexual past. It also allows for the mapping of past and present forms of homosexuality that may be u...
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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
2020
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| Acceso en línea: | https://revistas.unc.edu.ar/index.php/toma1/article/view/30774 |
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I10-R367-article-30774 |
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I10-R367-article-307742021-12-02T04:17:31Z Narrative subjection and familiar emotions: About El silencio es un cuerpo que cae by Agustina Comedi Sujeción narrativa y emociones familiares: A propósito de El silencio es un cuerpo que cae de Agustina Comedi Mattio, Eduardo emotions family homosexuality emotional grammar dissidence emociones familia homosexualidad gramática emocional disidencia The interest in examining a documentary such as El silencio es un cuerpo que cae by Agustina Comedi (2017) is not limited to the analysis of the author's biographical record of her father's sexual past. It also allows for the mapping of past and present forms of homosexuality that may be unrecognizable in a present GLBT marked by greater public visibility and acceptability. In this sense, Comedi's work is not only an “archive of feelings” (Cvetkovich, 2018) in which the emotional responses - personal and collective - that from the absence of familiar and public recognition built a gay culture at the end of the last century are exhibited. It is also an “affective map” (Flatley, 2008) that provides an experience of self-estrangement that defamiliarizes us from our own affective attachments and allows us to reorient the emotional grammar to which we are subject. In this archive of images that tells of a conjectural and fragmentary past —the secret homosexual drift of his father—, not only is a “heterobiography” composed (Boero, 2017). It also reveals in an opaque way the sentimental drift of a dissident body —his father's, that of many other fags of that time— in the midst of the problematic fabric that makes up the family emotions. __ ARK: http://id.caicyt.gov.ar/ark:/s22504524/olchp9x7v El interés por examinar una pieza documental como El silencio es un cuerpo que cae de Agustina Comedi (2017) no se limita al análisis del registro biográfico que la autora hace del pasado sexual de su padre. Permite también cartografiar formas pasadas y presentes de la homosexualidad que por su particularidad pueden resultar irreconocibles en un presente LGTB signado por una mayor visibilidad y aceptabilidad públicas. En tal sentido, el trabajo de Comedi no solo es un “archivo de sentimientos” (Cvetkovich, 2018) en el que se exhiben las respuestas afectivas —personales y colectivas— que desde la ausencia de reconocimiento familiar y público construyeron una cultura gay a fines del siglo pasado. Es también un “mapa afectivo” (Flatley, 2008) que proporciona una experiencia de auto-extrañamiento que nos desfamiliariza de los propios apegos afectivos y permite reorientar la gramática emocional a la que nos vemos sujetos. En ese archivo de imágenes que da cuenta de un pasado conjetural y fragmentario —la secreta deriva homosexual de su padre—, no solo se compone una “heterobiografía” (Boero, 2017). También se revela de modo opaco la deriva sentimental de un cuerpo disidente —el de su padre, el de muchas otras maricas de aquella época— en medio del tejido problemático que componen las emociones familiares. __ ARK: http://id.caicyt.gov.ar/ark:/s22504524/olchp9x7v Departamento de Cine y TV, Facultad de Artes, Universidad Nacional de Córdoba 2020-11-01 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf text/html application/epub+zip https://revistas.unc.edu.ar/index.php/toma1/article/view/30774 10.55442/tomauno.n8.2020.30774 Toma Uno; No. 8 (2020): Gender, Dissent and Diversities in Cinema and Audiovisual Arts TOMA UNO; Núm. 8 (2020): Género, disidencias y diversidades en el Cine y las Artes Audiovisuales 2250-4524 2313-9692 10.55442/tomauno.n8.2020 spa https://revistas.unc.edu.ar/index.php/toma1/article/view/30774/31454 https://revistas.unc.edu.ar/index.php/toma1/article/view/30774/31455 https://revistas.unc.edu.ar/index.php/toma1/article/view/30774/31456 http://creativecommons.org/licenses/by-nc-nd/2.5/ar/ |
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Universidad Nacional de Córdoba |
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I-10 |
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R-367 |
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TOMA UNO |
| language |
Español |
| format |
Artículo revista |
| topic |
emotions family homosexuality emotional grammar dissidence emociones familia homosexualidad gramática emocional disidencia |
| spellingShingle |
emotions family homosexuality emotional grammar dissidence emociones familia homosexualidad gramática emocional disidencia Mattio, Eduardo Narrative subjection and familiar emotions: About El silencio es un cuerpo que cae by Agustina Comedi |
| topic_facet |
emotions family homosexuality emotional grammar dissidence emociones familia homosexualidad gramática emocional disidencia |
| author |
Mattio, Eduardo |
| author_facet |
Mattio, Eduardo |
| author_sort |
Mattio, Eduardo |
| title |
Narrative subjection and familiar emotions: About El silencio es un cuerpo que cae by Agustina Comedi |
| title_short |
Narrative subjection and familiar emotions: About El silencio es un cuerpo que cae by Agustina Comedi |
| title_full |
Narrative subjection and familiar emotions: About El silencio es un cuerpo que cae by Agustina Comedi |
| title_fullStr |
Narrative subjection and familiar emotions: About El silencio es un cuerpo que cae by Agustina Comedi |
| title_full_unstemmed |
Narrative subjection and familiar emotions: About El silencio es un cuerpo que cae by Agustina Comedi |
| title_sort |
narrative subjection and familiar emotions: about el silencio es un cuerpo que cae by agustina comedi |
| description |
The interest in examining a documentary such as El silencio es un cuerpo que cae by Agustina Comedi (2017) is not limited to the analysis of the author's biographical record of her father's sexual past. It also allows for the mapping of past and present forms of homosexuality that may be unrecognizable in a present GLBT marked by greater public visibility and acceptability. In this sense, Comedi's work is not only an “archive of feelings” (Cvetkovich, 2018) in which the emotional responses - personal and collective - that from the absence of familiar and public recognition built a gay culture at the end of the last century are exhibited. It is also an “affective map” (Flatley, 2008) that provides an experience of self-estrangement that defamiliarizes us from our own affective attachments and allows us to reorient the emotional grammar to which we are subject. In this archive of images that tells of a conjectural and fragmentary past —the secret homosexual drift of his father—, not only is a “heterobiography” composed (Boero, 2017). It also reveals in an opaque way the sentimental drift of a dissident body —his father's, that of many other fags of that time— in the midst of the problematic fabric that makes up the family emotions.
__
ARK: http://id.caicyt.gov.ar/ark:/s22504524/olchp9x7v |
| publisher |
Departamento de Cine y TV, Facultad de Artes, Universidad Nacional de Córdoba |
| publishDate |
2020 |
| url |
https://revistas.unc.edu.ar/index.php/toma1/article/view/30774 |
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