El escarabajo de oro y las posibilidades del ars combinatoria.
This article focuses on The Golden Bug—Or Victorias Hämnd (2014), codirected by the Argentine filmmaker Alejo Moguillansky and the Swedish artist Fia-Stina Sandlund. Although the film is a product of the collaboration between both directors, the imprint of Moguillansky's poetics is evident, which ha...
| Publicado en: | Studies in Latin American Popular Culture Vol. 43; pp. 48 - 64 |
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| Formato: | Artículo |
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University of Texas Press
2025
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=188233562&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 188233562 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 07309139 LPC jtl: Studies in Latin American Popular Culture issn: 07309139 maglogo: N pubinfo: dt: 2025 vid: 43 pid: 519 pub: University of Texas Press artinfo: ui: 188233562 ppf: 48 ppct: 16 formats: fmt: – @attributes: type: T – @attributes: type: P size: 275KB tig: atl: El escarabajo de oro y las posibilidades del ars combinatoria. aug: au: Copertari, Gabriela su: Moguillansky, Alejo Filmmakers Cultural identity Group identity Imperialism sug: subj: Moguillansky, Alejo Filmmakers Cultural identity Group identity Imperialism ab: This article focuses on The Golden Bug—Or Victorias Hämnd (2014), codirected by the Argentine filmmaker Alejo Moguillansky and the Swedish artist Fia-Stina Sandlund. Although the film is a product of the collaboration between both directors, the imprint of Moguillansky's poetics is evident, which has as one of its foundations ars combinatoria and, in that sense, has a strong Borgesian influence. The political meanings produced in the film by three different possibilities of ars combinatoria are analyzed. First, the combination of different arts is analyzed to demonstrate that this sometimes becomes a formal anchor of the conflict between Latin America/men/anticolonialism and Europe/women/feminism, as each art represents a particular geocultural reference, Europe or Latin America, producing a constant cultural decentering and thus questioning essentialism in national and cultural identities. Second, the article analyzes the way the film combines and parodies identity discourses and politics, such as nationalism and essentialist feminism. Finally, it is proposed that, through theft—which gives fictional form to the anticolonialist discourse that constitutes the ideological skeleton of the film—and the combination and proliferation of stories that it triggers, the film traces a continuity between the colonialism of the past and the colonialism of the present. pubtype: Academic Journal doctype: Article src: R language: Spanish refInfo: copyright: @attributes: flag: Y custom: Copyright of Studies in Latin American Popular Culture is the property of University of Texas Press and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Studies in Latin American Popular Culture holder: University of Texas Press dt: @attributes: year: 2025 holdings: @attributes: islocal: N |
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