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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 Maricon Cinema, Vinodh Venkatesh argues that they
represent a distinct break from what he terms Maricon 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
limites. Covering feature films from Argentina, Chile, Cuba,
Ecuador, Mexico, Peru, the United States, and Venezuela, New
Maricon 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-Leon, and Julia Solomonoff and in films including
Antes que anochezca and Y tu mama tambien to show how their use of
an affective poetics situates and regenerates viewers in an
ethically productive cinematic space. He further demonstrates that
New Maricon 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.
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 Maricon Cinema, Vinodh Venkatesh argues that they
represent a distinct break from what he terms Maricon 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
limites. Covering feature films from Argentina, Chile, Cuba,
Ecuador, Mexico, Peru, the United States, and Venezuela, New
Maricon 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-Leon, and Julia Solomonoff and in films including
Antes que anochezca and Y tu mama tambien to show how their use of
an affective poetics situates and regenerates viewers in an
ethically productive cinematic space. He further demonstrates that
New Maricon 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.
Through economic liberalization and the untethering of labor and
production markets, masculinity as hegemon has entered a crisis
stage. Renegotiated labor and familial orders have triggered a
widespread cultural renegotiation of how masculinity operates and
is represented. This holds especially true in Latin America.
Addressing this, Vinodh Venkatesh uses contemporary Latin American
literature to examine how masculinity is constructed and conceived.
The Body as Capital centers socioeconomic and political concerns,
anxieties, and paradigms on the male anatomy and on the matrices of
masculinities presented in fiction. Developing concepts such as the
'market of masculinities' and the 'transnational theater of
masculinities', the author explains how contemporary fiction
centers the male body and masculine expressions as key components
in the relationship between culture, space, and global tensile
forces. Venkatesh includes novels by canonical and newer writers
from Mexico, Central America, the Caribbean, Peru, and Chile. He
focuses on texts produced after 1990, coinciding with what has
popularly been termed the neoliberal experiment. In addition to
probing well-known novels such as La fiesta del Chivo and La mujer
habitada and their accompanying body of criticism, The Body as
Capital defines and examines several masculine tropes that will be
of interest to scholars of contemporary Latin American literature
and gender studies. Ultimately, Venkatesh argues for a more
holistic approximation of discursive gender that will feed into
other angles of criticism, forging a new path in the critical
debates over gender and sexuality in Latin American writing.
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