“How I became what I am” an aesthetics of twist cinema in films from the 1960s and 1970s
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| Natura: | Artículo científico |
| Lingua: | en |
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Universidade Federal de Santa Catarina
2017
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| _version_ | 1876444346393296896 |
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| author | Karla Adriana Martins Bessa |
| author_facet | Karla Adriana Martins Bessa |
| contents | “How I became what I am” an aesthetics of twist cinema in films from the 1960s and 1970s Karla Adriana Martins Bessa Multidisciplinarias (Ciencias Sociales) Feminism queer cinema twist cinema films studies The article analyzes the political and theoretical potential of cinematographic language to express and rebuild the relationship between sexual and gender differences. As cultural products, the three films analyzed - A Casa Assassinada (1972), Sunday , bloody Sunday (1971) and Les Amities Particulières (1964) - allude to feminist issues of the time, as well as instigating a reading of gender beyond the narratives, by historicizing the visibility of the female body , heteronormativity , and the subversiveness of forbidden loves as represented through the films’ structure. The text argues, from a queer perspective, that the aesthetic nature of twist cinema , within the limits of each style and period, was precisely the boldness to run risks in its visual grammar , not making political concessions in challenging the moral canons of current society 2017 artículo científico 0104-026X https://www.redalyc.org/articulo.oa?id=38149070015 en http://www.redalyc.org/revista.oa?id=381 Revista Estudos Feministas application/pdf Universidade Federal de Santa Catarina Revista Estudos Feministas (Brasil) Num.1 Vol.25 |
| format | Artículo científico |
| id | redalyc_38149070015 |
| institution | Redalyc |
| language | en |
| publishDate | 2017 |
| publisher | Universidade Federal de Santa Catarina |
| spellingShingle | “How I became what I am” an aesthetics of twist cinema in films from the 1960s and 1970s Karla Adriana Martins Bessa Multidisciplinarias (Ciencias Sociales) Feminism queer cinema twist cinema films studies “How I became what I am” an aesthetics of twist cinema in films from the 1960s and 1970s Karla Adriana Martins Bessa Multidisciplinarias (Ciencias Sociales) Feminism queer cinema twist cinema films studies The article analyzes the political and theoretical potential of cinematographic language to express and rebuild the relationship between sexual and gender differences. As cultural products, the three films analyzed - A Casa Assassinada (1972), Sunday , bloody Sunday (1971) and Les Amities Particulières (1964) - allude to feminist issues of the time, as well as instigating a reading of gender beyond the narratives, by historicizing the visibility of the female body , heteronormativity , and the subversiveness of forbidden loves as represented through the films’ structure. The text argues, from a queer perspective, that the aesthetic nature of twist cinema , within the limits of each style and period, was precisely the boldness to run risks in its visual grammar , not making political concessions in challenging the moral canons of current society 2017 artículo científico 0104-026X https://www.redalyc.org/articulo.oa?id=38149070015 en http://www.redalyc.org/revista.oa?id=381 Revista Estudos Feministas application/pdf Universidade Federal de Santa Catarina Revista Estudos Feministas (Brasil) Num.1 Vol.25 |
| title | “How I became what I am” an aesthetics of twist cinema in films from the 1960s and 1970s |
| topic | Multidisciplinarias (Ciencias Sociales) Feminism queer cinema twist cinema films studies |
| url | https://www.redalyc.org/articulo.oa?id=38149070015 |