On the Verge of Light: Las mil y una as an Archive shaping the Gaze
The article proposes to work with the film Las mil y una (Navas, 2020, Argentina) and the notion of the verge of light, to reflect on the notion of the archive and its temporality, affections and dissident sexuality. It undertakes Ann Cvetkovich's proposal to return to queer trauma to analyze t...
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| Formato: | Artículo publishedVersion |
| Lenguaje: | Español |
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Facultad de Filosofía y Letras, Universidad de Buenos Aires
2023
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| Acceso en línea: | https://revistascientificas.filo.uba.ar/index.php/CdF/article/view/13873 https://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=cufilo&d=13873_oai |
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I28-R145-13873_oai2025-11-17 Moretti Basso, Ianina 2023-12-26 The article proposes to work with the film Las mil y una (Navas, 2020, Argentina) and the notion of the verge of light, to reflect on the notion of the archive and its temporality, affections and dissident sexuality. It undertakes Ann Cvetkovich's proposal to return to queer trauma to analyze the diversity of collective responses that can be generated, condensed into a possible archive of feelings. Following Natalia Taccetta, I review the implications of an archive of sexual-affective circulations and its intimate relationship with temporality, with Elizabeth Freeman's notion of chrononormativity. Taccetta points out that cinema allows to make the past not only knowable but also perceptible: Las mil y una is part of the archive of our reflections on identity, the temporalities in which we coexist and the affective economies that these (dis)enable. In tension with contemporary times, its title refers both to the classic story of Scheherazade and to the colloquial expression of a chain of unfortunate events, while recovering the name of Corrientes’ neighborhood that inspires and places the film. The characters invite to a parcours of queer orientations, not heteronormative but neither classified as other identities. In a sexual-affective scenario far from apps and their taxonomies, the film opens the way to the unresolved tensions between search and hiding, the promise and the threat that coexist in the verge of light. El artículo propone trabajar junto al film Las mil y una (Navas, 2020, Argentina) y la noción de penumbra, para poner a reflexionar la noción de archivo y su temporalidad, los afectos y la sexualidad disidente. Para ello retoma la propuesta de Ann Cvetkovich de volver sobre el trauma queer para analizar la diversidad de respuestas colectivas que se pueden generar, condensadas en un posible archivo de sentimientos. Siguiendo a Natalia Taccetta, repaso allí las implicancias de un archivo que atienda a las circulaciones sexo-afectivas y su relación íntima con la temporalidad, con la noción de crononormatividad de Elizabeth Freeman. El cine permite, apunta Taccetta, volver al pasado no solo cognoscible sino perceptible: Las mil y una integra el archivo de nuestras reflexiones sobre la identidad, las temporalidades en que con-vivimos y las economías afectivas que estas (des)habilitan. Poniendo en jaque la contemporaneidad, su título reenvía tanto al clásico relato de Scheherezade como a la expresión coloquial de una cadena de acontecimientos desafortunados, mientras recupera el nombre del barrio correntino que inspira y sitúa el film. Los personajes invitan a un parcours de orientaciones queer, en cuanto no heteronormadas pero tampoco clasificables en otras identidades. En un escenario sexoafectivo lejos de las apps y sus taxonomías, el film abre paso a las tensiones no resueltas entre la búsqueda y el escondite, la promesa y la amenaza que conviven en la penumbra. application/pdf https://revistascientificas.filo.uba.ar/index.php/CdF/article/view/13873 10.34096/cf.n80.13873 spa Facultad de Filosofía y Letras, Universidad de Buenos Aires https://revistascientificas.filo.uba.ar/index.php/CdF/article/view/13873/13006 Derechos de autor 2023 Cuadernos de filosofía Cuadernos de filosofía; Núm. 80 (2023) 2362-485X 0590-1901 affective turn, latinoamerican cinema, archive, crononormativity, verge giro afectivo, cine latinoamericano, archivo, crononormatividad. penumbra On the Verge of Light: Las mil y una as an Archive shaping the Gaze En los umbrales de la luz: Archivos para moldear la mirada info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion https://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=cufilo&d=13873_oai |
| institution |
Universidad de Buenos Aires |
| institution_str |
I-28 |
| repository_str |
R-145 |
| collection |
Repositorio Digital de la Universidad de Buenos Aires (UBA) |
| language |
Español |
| orig_language_str_mv |
spa |
| topic |
affective turn, latinoamerican cinema, archive, crononormativity, verge giro afectivo, cine latinoamericano, archivo, crononormatividad. penumbra |
| spellingShingle |
affective turn, latinoamerican cinema, archive, crononormativity, verge giro afectivo, cine latinoamericano, archivo, crononormatividad. penumbra Moretti Basso, Ianina On the Verge of Light: Las mil y una as an Archive shaping the Gaze |
| topic_facet |
affective turn, latinoamerican cinema, archive, crononormativity, verge giro afectivo, cine latinoamericano, archivo, crononormatividad. penumbra |
| description |
The article proposes to work with the film Las mil y una (Navas, 2020, Argentina) and the notion of the verge of light, to reflect on the notion of the archive and its temporality, affections and dissident sexuality. It undertakes Ann Cvetkovich's proposal to return to queer trauma to analyze the diversity of collective responses that can be generated, condensed into a possible archive of feelings. Following Natalia Taccetta, I review the implications of an archive of sexual-affective circulations and its intimate relationship with temporality, with Elizabeth Freeman's notion of chrononormativity. Taccetta points out that cinema allows to make the past not only knowable but also perceptible: Las mil y una is part of the archive of our reflections on identity, the temporalities in which we coexist and the affective economies that these (dis)enable. In tension with contemporary times, its title refers both to the classic story of Scheherazade and to the colloquial expression of a chain of unfortunate events, while recovering the name of Corrientes’ neighborhood that inspires and places the film. The characters invite to a parcours of queer orientations, not heteronormative but neither classified as other identities. In a sexual-affective scenario far from apps and their taxonomies, the film opens the way to the unresolved tensions between search and hiding, the promise and the threat that coexist in the verge of light. |
| format |
Artículo publishedVersion |
| author |
Moretti Basso, Ianina |
| author_facet |
Moretti Basso, Ianina |
| author_sort |
Moretti Basso, Ianina |
| title |
On the Verge of Light: Las mil y una as an Archive shaping the Gaze |
| title_short |
On the Verge of Light: Las mil y una as an Archive shaping the Gaze |
| title_full |
On the Verge of Light: Las mil y una as an Archive shaping the Gaze |
| title_fullStr |
On the Verge of Light: Las mil y una as an Archive shaping the Gaze |
| title_full_unstemmed |
On the Verge of Light: Las mil y una as an Archive shaping the Gaze |
| title_sort |
on the verge of light: las mil y una as an archive shaping the gaze |
| publisher |
Facultad de Filosofía y Letras, Universidad de Buenos Aires |
| publishDate |
2023 |
| url |
https://revistascientificas.filo.uba.ar/index.php/CdF/article/view/13873 https://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=cufilo&d=13873_oai |
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