Información General

• Autores: Vinodh Venkatesh
• Editores: University of Texas
• Año de publicación: 2016
• País: Estados Unidos
• Idioma: inglés
• ISBN: 9781477310151
• Texto completo no disponible (Saber más ...)

Reseñas

• Ha sido reseñado en:

  • New Maricón Cinema: Outing Latin American Film by Vinodh Venkatesh

    David Tenorio

    Hispanic review, ISSN-e 1553-0639, Vol. 85, Nº 4, 2017, págs. 498-501

  • New Maricón Cinema: Outing Latin American Film by Vinodh Venkatesh (review)

    Salvador Gómez Barranco

    Arizona Journal of Hispanic Cultural Studies, ISSN 1096-2492, Nº. 21, 2017, págs. 338-340

  • VINODH VENKATESH. New Maricón Cinema: Outing Latin American Film. Austin: University of Texas Press, 2016. 238 pp.

    Carolina Rocha

    Revista canadiense de estudios hispánicos, ISSN 0384-8167, Vol. 41, Nº 2, 2017, págs. 469-471

  • New Maricón Cinema: Outing Latin American Film by Vinodh Venkatesh (review)

    Carolyn Fornoff

    Revista de estudios hispánicos, ISSN 0034-818X, Vol. 52, Nº 1, 2018, págs. 283-285

Resumen

• Recent critically and commercially acclaimed Latin American films such as XXY, Contracorriente, and Plan B create an affective and bodily connection with viewers that elicits in them an emotive and empathic relationship with queer identities. Referring to these films as New MaricÓn Cinema, Vinodh Venkatesh argues that they represent a distinct break from what he terms MaricÓn Cinema, or a cinema that deals with sex and gender difference through an ethically and visually disaffected position, exemplified in films such as Fresa y chocolate, No se lo digas a nadie, and El lugar sin lÍmites.

  Covering feature films from Argentina, Chile, Cuba, Ecuador, Mexico, Peru, the United States, and Venezuela, New MaricÓn Cinema is the first study to contextualize and analyze recent homo-/trans-/intersexed-themed cinema in Latin America within a broader historical and aesthetic genealogy. Working with theories of affect, circulation, and orientations, Venkatesh examines key scenes in the work of auteurs such as Marco Berger, Javier Fuentes-LeÓn, and Julia Solomonoff and in films including Antes que anochezca and Y tu mamÁ tambiÉn to show how their use of an affective poetics situates and regenerates viewers in an ethically productive cinematic space. He further demonstrates that New MaricÓn Cinema has encouraged the production of “gay friendly” commercial films for popular audiences, which reflects wider sociocultural changes regarding gender difference and civil rights that are occurring in Latin America.

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