Una memoria sexuada del cosmos: El marco heteropatriarcal de la cámara telescópica de Patricio Guzmán en <i>Nostalgia de la luz</i> (2010)

Autors/ores

  • Nagore Sedano University of Oregon

DOI:

https://doi.org/10.5399/uo/peripherica.1.2.4

Resum

In this article, I draw on Sara Ahmed’s theorization of “queer phenomenology” to examine the re-orientation of memory discourses in Patricio Guzman’s Nostalgia de la luz (2010).
In Nostalgia, the camera produces a metaleptic effect by meticulously framing, in a similar manner to that of a telescope, the background of the official historical narrative: the memory of the natural world. Guzmán’s metaleptic camera teaches us an interconnected “memory of the cosmos.” Yet this re-orientation of memory discourses is articulated from a family home that serves as a gendered orienting device. Following queer phenomenology, I trace the ways in which the documentary’s innovative treatment of memory
is hindered by the heteropatriarchal orientation of the family home. I argue that, in Nostalgia, the memory of the heterosexual male subject is the one that is transmitted vertically within the heteropatriarchal family. In doing so, the documentary reproduces the familial and linear tropes that have dominated discourses of intergenerational memory transmission. Queer phenomenology warns us that Guzman’s call to “vivir en el frágil tiempo presente” is not merely a question of having or lacking memory. Memory is a matter of following, and returning, specific lines of orientation, at the expense of others.

Referències

Ahmed, Sara. “Orientations: Toward a Queer Phenomenology”. GLB 12.4 (2006): 543-574. Print.

Bakhtin, Mijail, and Helena S. Kriúkova. Teoría y estética de la novela: trabajos de investigación. Madrid: Taurus, 1989. Print.

Blaine, Patrick. “Representing Absences in the Postdictatorial Documentary Cinema of Patricio Guzmán.” Latin American Perspectives. 40.1 (2013): 114-130. Print.

Burton, Julianne. The Social Documentary in Latin America. Pittsburgh: University of Pittsburgh Press, 1990. Print.

Chanan, Michael. “Nostalgia de la luz”. La Fuga (2012): n. pag. Web. 16 Mar. 2015.

---. The Politics of Documentary. London: British Film Institute, 2007. Print.

Guzmán, Patricio, dir. Nostalgia de la luz. Icarus Films Home, 2010. Film.

---. Interviewed by Chris Darke. “Nostalgia for the Light. Interview”. PBS. POV: Documentaries with a Point of View, 2012. Web. 16 Mar. 2015. http://archive.pov.org/nostalgiaforthelight/interview/

---. Interviewed by Nerina Moris. “Nostalgia For The Light”. Vertigo 31 (2012): n. pag. Web. 16 Mar. 2015. https://www.closeupfilmcentre.com/vertigo_magazine/issue-31-winter-2012-in-conversation/nostalgia-for-the-light/

Spira, Tamara Lea. “Toward a new temporality and archive of revolution: Patricio Guzmán’s. Nostalgia for/of the Light” E-Misferica 9.1. (2012): n. pag. Web. 18 Mar. 2015. http://beta.hemisphericinstitute.org/es/e-misferica-91/236-9-1-review-essays/1325-oward-a-new-temporality-and-archive-of-revolution-patricio-guzmans-nostalgia-for-the-light.html

Valenzuela, Valeria. “Yo te digo que el mundo es así: giro performativo en el documental chileno contemporáneo”. Universidade da Beira Interior & Universidad Estadual de Campinas, 2006. Internet resource. Web. May 3 2017.

Vitullo, Julieta. “Nostalgia de la luz de Patricio Guzmán: el cine como máquina del tiempo”. Kamchatka Revista de Análisis Cultural. (2014): 179-192. Print.

Wahlberg, Malin. Documentary Time: Film and Phenomenology. Minneapolis: University of Minnesota Press, 2008. Print.

Publicades

2020-11-02

Com citar

Sedano, N. (2020). Una memoria sexuada del cosmos: El marco heteropatriarcal de la cámara telescópica de Patricio Guzmán en <i>Nostalgia de la luz</i> (2010). Periphērica: Journal of Social, Cultural, and Literary History, 1(2), 43–69. https://doi.org/10.5399/uo/peripherica.1.2.4

Número

Secció

Dossier Image and Storytelling: New Approaches to Hispanic Cinema and Literature