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The love of l@s rar@s. Cine and homosexualities during the 1980s in Argentina

Article

English, Spanish, French, Portuguese

ID: <oai:doaj.org/article:22b35b4ed1b442b4b45e4db04fbecd31>·DOI: <10.24310/Fotocinema.2017.v0i15.3500>

Abstract

This work is based on the analysis of models that make it possible to imagine and experience (home-grown) emotional relationships from a number of Argentinian films. Specifically, we describe and compare images produced in the mid-1980s ‘alfonsinista reveape’ relating to homo-erotic encounters. The films under consideration are Adiós Roberto (Enrique Dawi, 1985) and Other history of love (Americas Ortiz de Zárate, 1986) which have the love between the boys and Atrapadas (Aníbal Di Salvo, 1984) Correctional of women (Emilio Vieyra, 1986) and Suceda in the detainee (Emilio Vieyra, 1985), who fought lesbian relationships. To bring us closer to these productions, which reserve love for men and place lesbians in prison, we use the notion of ‘sexual hyphens’ developed by Gagnon and Simon in their studies on sexual behaviour. An analysis of these cinemato-graphically objective film and sex stories will make it possible to describe how gender, erotic, age and class positions were/were different in those years. Abstract: This paper facts on the analysis of models to imagine and experience (homo) affective relationship in some Argentine films. We specifically describe and compare images concerning homogenous counters made during the ‘mapping’ of the mid-1980s. The films in question are Adiós Roberto (Enrique Dawi, 1985) and Other history of love (Americas Ortiz de Zárate, 1986) that present the love between men and Atrapadas (Aníbal Di Salvo, 1984), Women’s Corretional (Emilio Vieyra, 1986) and Suceda in detainee (Emilio Vieyra, 1985) that portray lesbian relationships. To approach these texts we use the notion of “sexual scripts” developed by Gagnon and Simon in their studies on sexual behaviour. The analysis of these stories of love and sex, cinematically targeted, allow us to describe how gender, eroticism and social class were perfomately (re) produced in previous years. The differences in the ways of doing homosexuality (in) visible demonstration of completeness and variations of the sexual morality in the post-dictatorship Argentina culture

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