Queer Issues in Contemporary Latin American Cinema by David William Foster

By David William Foster

Viewing modern Latin American movies in the course of the lens of queer stories finds that many filmmakers are exploring problems with gender identification and sexual distinction, in addition to the homophobia that makes an attempt to defeat any problem to the heterosexual norms of patriarchal tradition. during this learn of queer concerns in Latin American cinema, David William Foster deals hugely perceptive queer readings of fourteen key movies to illustrate how those cultural items advertise the rules of an anti-heterosexist stance whereas they concurrently reveal how homophobia enforces the norms of heterosexuality. Foster examines each one movie by way of the ideology of its narrative discourse, even if homoerotic hope or a critique of patriarchal heterosexism and its implications for Latin American social lifestyles and human rights. His analyses underscore the problems taken with developing a coherent and convincing remedy of the complicated matters serious about critiquing the patriarchy from views linked to queer reports. The publication should be crucial examining for everybody operating in queer reviews and movie reviews.

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Anyone with an adequate knowledge of Hispanic culture will overlook the powerful representation by the horse of male sexuality in Federico García Lorca’s play La casa de Bernarda Alba (written 1936); images of the horse appear throughout Lorca’s writings, often with a sexual charge. To be sure, the horse is a widely recognized symbol of sexuality. The issue of Charlotte as a figure of the child as sexual object is underscored by Leonor’s horrendous error of interpretation regarding Ludovico’s intentions.

Running off with the circus is virtually a universal Western motif, and it may well be an international one. Historical and theoretical bibliography is scant on these issues, but cultural production is rich and extensive, from American novels (Gresham; Dunn; Finney) to Argentine ones (Barletta; Gambaro) to Latin American ones (viz. Melquíades and his gypsy troop in García Márquez’s Cien años de soledad). Also of note is the ChileanMexican Alejandro Jodorowsky’s fascinating film Santa sangre (1989).

Historical and theoretical bibliography is scant on these issues, but cultural production is rich and extensive, from American novels (Gresham; Dunn; Finney) to Argentine ones (Barletta; Gambaro) to Latin American ones (viz. Melquíades and his gypsy troop in García Márquez’s Cien años de soledad). Also of note is the ChileanMexican Alejandro Jodorowsky’s fascinating film Santa sangre (1989). Precisely in the case of Bemberg’s film, Charlotte runs off with the circus. She seems to know intuitively that these are her people and that she belongs with them.

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