The sexual corpus delicti in the history of the Argentine cinematography: La Patota 1960 and Paulina 2015
Crime films and frontiers are fruitful settings to explore the transformation of representations of sexual crime. According to Ludmer (1993) beyond the criminalistic formula popularized by literature since the 19th century, there is a vast set of crime centered narratives that form a literary appara...
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| Formato: | Artículo revista |
| Lenguaje: | Español |
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ISHiR/CONICET
2016
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| Acceso en línea: | https://web3.rosario-conicet.gov.ar/ojs/index.php/revistaISHIR/article/view/614 |
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I15-R239-article-6142016-11-19T21:59:29Z The sexual corpus delicti in the history of the Argentine cinematography: La Patota 1960 and Paulina 2015 El cuerpo del delito sexual en la historia de la cinematográfica argentina: La Patota 1960 y 2015 Lozano, Claudia identidad de género violencia sexual policial cinematografía Argentina gender identity sexual violence police cinematography Argentina Crime films and frontiers are fruitful settings to explore the transformation of representations of sexual crime. According to Ludmer (1993) beyond the criminalistic formula popularized by literature since the 19th century, there is a vast set of crime centered narratives that form a literary apparatus capable of articulating „political textualities and identity fables”. As Ludmer points out theorists such as Marx and Freud used crime as an analytic device to give an account of the contextual and culturally constructed character of social identities, the law and authority. My interest in crime as an analytic device is related to the ways in which its elaboration within the fictional universe of the film provides an account of the lies, untruth and fabrications on which identities are built, its imaginary constitution and representational limits. In this sense, the original version of “La Patota” of 1960 and its remake of 2015 “Paulina” confront us with rape as a border experience with trans-generational effects, irreducible to medical, cultural and right languages. El relato policial y las fronteras configuran contextos fructíferos para observar la transformación de las representaciones del crimen sexual. Según Ludmer por fuera de la fórmula criminalística popularizada por la literatura desde el siglo XIX, existe un conjunto vasto de narraciones centradas en el crimen que resultan en un aparato literario capaz de articular "textualidades políticas y fábulas de identidad". Teóricos como Marx y Freud utilizaron al crimen como dispositivo analítico para dar cuenta del carácter contextual y culturalmente construido de las identidades sociales, la ley y del modelo de autoridad que las fundamenta. Mi interés por el crimen como dispositivo analítico refiere a que su reconstrucción en el marco del universo ficcional de la película, posibilita dar cuenta de las mentiras, embustes y falsificaciones a partir de las cuales se elaboran las identidades de género. Esta nos muestra los límites que imponen los registros jurídico-institucionales del experto a la representación social de la violación sexual. En este sentido, el film "La Patota" en su versión original de 1960 y su remake de 2015 nos confrontan con la violación como experiencia límite con efectos transgeneracionales, irreductibles a los lenguajes de la clínica médica, culturales y del derecho. ISHiR/CONICET 2016-08-31 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Artículo evaluado por pares application/pdf https://web3.rosario-conicet.gov.ar/ojs/index.php/revistaISHIR/article/view/614 10.35305/eishir.v6i15.614 Estudios del ISHiR; Vol. 6 Núm. 15 (2016): Estudios del ISHiR; 35-55 Estudios del ISHiR; Vol. 6 No. 15 (2016): Estudios del ISHiR; 35-55 2250-4397 spa https://web3.rosario-conicet.gov.ar/ojs/index.php/revistaISHIR/article/view/614/670 Derechos de autor 2016 Estudios del ISHiR |
| institution |
Universidad Nacional de Rosario |
| institution_str |
I-15 |
| repository_str |
R-239 |
| container_title_str |
Revista Estudios del ISHIR (CONICET) |
| language |
Español |
| format |
Artículo revista |
| topic |
identidad de género violencia sexual policial cinematografía Argentina gender identity sexual violence police cinematography Argentina |
| spellingShingle |
identidad de género violencia sexual policial cinematografía Argentina gender identity sexual violence police cinematography Argentina Lozano, Claudia The sexual corpus delicti in the history of the Argentine cinematography: La Patota 1960 and Paulina 2015 |
| topic_facet |
identidad de género violencia sexual policial cinematografía Argentina gender identity sexual violence police cinematography Argentina |
| author |
Lozano, Claudia |
| author_facet |
Lozano, Claudia |
| author_sort |
Lozano, Claudia |
| title |
The sexual corpus delicti in the history of the Argentine cinematography: La Patota 1960 and Paulina 2015 |
| title_short |
The sexual corpus delicti in the history of the Argentine cinematography: La Patota 1960 and Paulina 2015 |
| title_full |
The sexual corpus delicti in the history of the Argentine cinematography: La Patota 1960 and Paulina 2015 |
| title_fullStr |
The sexual corpus delicti in the history of the Argentine cinematography: La Patota 1960 and Paulina 2015 |
| title_full_unstemmed |
The sexual corpus delicti in the history of the Argentine cinematography: La Patota 1960 and Paulina 2015 |
| title_sort |
sexual corpus delicti in the history of the argentine cinematography: la patota 1960 and paulina 2015 |
| description |
Crime films and frontiers are fruitful settings to explore the transformation of representations of sexual crime. According to Ludmer (1993) beyond the criminalistic formula popularized by literature since the 19th century, there is a vast set of crime centered narratives that form a literary apparatus capable of articulating „political textualities and identity fables”. As Ludmer points out theorists such as Marx and Freud used crime as an analytic device to give an account of the contextual and culturally constructed character of social identities, the law and authority. My interest in crime as an analytic device is related to the ways in which its elaboration within the fictional universe of the film provides an account of the lies, untruth and fabrications on which identities are built, its imaginary constitution and representational limits. In this sense, the original version of “La Patota” of 1960 and its remake of 2015 “Paulina” confront us with rape as a border experience with trans-generational effects, irreducible to medical, cultural and right languages. |
| publisher |
ISHiR/CONICET |
| publishDate |
2016 |
| url |
https://web3.rosario-conicet.gov.ar/ojs/index.php/revistaISHIR/article/view/614 |
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2023-06-26T22:54:50Z |
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