Corpus ID: 219557922

Reframing Identities in Argentine Documentary Cinema: The Emergence of LGBT People as Political Subjects in Rosa

@inproceedings{Patria2020ReframingII,
  title={Reframing Identities in Argentine Documentary Cinema: The Emergence of LGBT People as Political Subjects in Rosa},
  author={Rosa Patria and P. Loza and Mariana Ortega-Bre{\~n}a},
  year={2020}
}
Using film semiotics, queer theory, and discourse theory as developed by Laclau, Mouffe, and Žižek, an enunciative and rhetorical analysis of Rosa Patria (Pink Motherland) (Santiago Loza, 2008–2009) and Putos peronistas, cumbia del sentimiento (Peronist Faggots, Cumbia Feeling) (Rodolfo Cesatti, 2011) points to the changes in the political and cinematic frames that have enabled the transformation of LGBT people into political subjects in the context of the Argentine documentary of the twenty… Expand

References

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A first version of this analysis of Rosa Patria was published in Spanish
  • 2017
besides Rosa Patria and Putos peronistas, cumbia del sentimiento. 2 "Framing
  • golpes bajos
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For this nonseparatist concept of homosexuals as an "irreplaceable part of the people" during early FLH days, see Forastelli
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Argentine fiction cinema, this change in framing can be traced back to the first postdictatorship period and films like Adiós Roberto (Enrique Dawi, 1985) and Otra historia de amor
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