Exoticism and Otherness in Argentine Cinema: Copacabana (Martín Rejtman, 2006) and Lluvia de jaulas (César González, 2019)

Article Sidebar

Heterotopías Volumen 7 Número 13. Imagen de portada de Roxana Ramos
PDF (Spanish)
Published: Jun 25, 2024
Keywords:
exoticism;, documentary film;, Argentine;, César González;, Martín Rejtman

Main Article Content

Mariano Veliz
UBA-UNA
https://orcid.org/0000-0002-3938-3622

Abstract

The article addresses the notion of exoticism proposed by Victor Segalen to explore its power to think about some recent Argentine audiovisual productions. The analysis of the particularities of his study of the figure of the exot and his assessment of diversity constitute the basis for evaluating how the circulation of documentary films that construct an exotic point of view on otherness can dismantle certain conventional ways of approaching territories of the Otherness. Copacabana (Martín Rejtman, 2006) and Lluvia de jaulas (César González, 2019) propose exotic journeys through social universes that are strange to their filmmakers: Bolivian immigration in one case and the bourgeois city in the other. The appeal to distanced perceptual devices or the resource to the figure of wandering constitute two different modalities of appearance of exoticism, becoming a privileged disruptive strategy to dismantle the pre-eminence of sameness and propose other conceptions of otherness.

Downloads

Download data is not yet available.

Article Details

How to Cite
Veliz, M. (2024). Exoticism and Otherness in Argentine Cinema: Copacabana (Martín Rejtman, 2006) and Lluvia de jaulas (César González, 2019). Heterotopías, 7(13), 1-19. https://revistas.unc.edu.ar/index.php/heterotopias/article/view/45392
Issue
Vol. 7 No. 13 (2024): Writings on the edge of the abyss: How is the present constructed?
Section
Dossier
Creative Commons License

This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.

Those authors who have publications with this journal, accept the following terms: Those authors who have publications with this journal, accept the following terms:


a. The authors will keep their copyright and guarantee to the journal the right of first publication of their work, which will be simultaneously subject to the Creative Commons Attribution - Non-Commercial - Share Alike (by-nc-sa) Attribution License; no commercial use of the original work or any derivative works is allowed, the distribution of which must be done with a license equal to the one that regulates the original work.

b. Authors may adopt other non-exclusive license agreements for the distribution of the published version of the work (e.g., deposit it in an institutional telematic archive or publish it in a monographic volume) provided that the initial publication in this journal is indicated.

c. Authors are allowed and recommended to disseminate their work through the Internet (e.g. in institutional telematic archives or on their website) before and during the submission process, which may lead to interesting exchanges and increase the number of citations of the published work. (See The effect of open access).

 

Author Biography

Mariano Veliz, UBA-UNA

Mariano Veliz has a Ph.D. in History and Theory of the Arts, a Master in Discourse Analysis, Bachelor of Arts and Professor in Secondary and Higher Education from the Facultad de Filosofía y Letras of the Universidad de Buenos Aires. He is Professor in the Arts Department at the same institution and in the Audiovisual Arts Department at the Universidad Nacional de las Artes. He is a researcher at the Instituto de Artes del Espectáculo. There he directs a research group on contemporary Latin American cinema. He directs with Natalia Taccetta the collection Imagen e historia at the Prometeo publishing house. He published the books Figuraciones de la otredad en el cine contemporáneo (Prometeo, 2020) and Cines latinoamericanos y transición democrática (Prometeo, 2019). He is director of the academic journal En la otra isla. Revista de audiovisual latinoamericano.

How to Cite

Veliz, M. (2024). Exoticism and Otherness in Argentine Cinema: Copacabana (Martín Rejtman, 2006) and Lluvia de jaulas (César González, 2019). Heterotopías, 7(13), 1-19. https://revistas.unc.edu.ar/index.php/heterotopias/article/view/45392

References

Allouche, C. (enero-junio, 2021). Où commence la périphérie ? Horizon commun des cinématographies argentine et brésilienne contemporaines. RITA, 14, Recuperado de: http://www.revue-rita.com/articles/ou-commence-la-peripherie-horizon commun descinematographies-argentine-et-bresilienne-contemporaines-claire-allouche.html

Bernini, E. (2015). ¿Qué puede un lumpen? Gracia, justicias y heterogeneidad. Kilómetro 111, 15, pp. 23-36.

Bourriaud, N. (2009). Radicante. Buenos Aires: Adriana Hidalgo.

Caggiano, S. (2012). El sentido común visual. Disputas en torno a género, “raza” y clase en imágenes de circulación pública. Buenos Aires: Miño y Dávila.

Depetris Chauvin, I. (2014). Bolivians in Argentina. The Other Fiesta. ReVista. Harvard Review of Latin America, vol. XIII.

González, C. (2021). El fetichismo de la marginalidad. Buenos Aires: Sudestada.

Grimson, A. (1997). Relatos de la diferencia y la igualdad. Los bolivianos en Buenos Aires. Nueva Sociedad, 147, pp. 96-107.

Iglesias Santos, M. (2010). Imágenes del otro. Identidad e inmigración en la literatura y el cine. Madrid: Biblioteca nueva.

Ludmer, J. (2010). Aquí América Latina. Una especulación. Buenos Aires: Eterna Cadencia.

Mezzadra, S. y Neilson, B. (2016). La frontera como método. O la multiplicación del trabajo. Buenos Aires: Tinta limón.

Oubiña, D. (2013). Las huellas del pié: riesgos y desafíos del cine argentino contemporáneo. En Andermann, J. y Fernández Bravo, A. (Comps.). La escena y la pantalla. Cine contemporáneo y el retorno de lo real (pp. 41-50). Buenos Aires: Colihue.

Oubiña, D. y Filipelli, R. (2007). Los pobres: maneras de ejercer un oficio. Punto de vista, 88, pp. 35-36.

Rancière, J. (1991). Breves viajes al país del pueblo. Buenos Aires: Nueva Visión.

Sarlo, B. (2009). La ciudad vista. Mercancías y cultura urbana. Buenos Aires: Siglo Veintiuno.

Segalen, V. (2017). Ensayo sobre el exotismo. Una estética de lo diverso. Madrid: La línea del horizonte.