Amistades apasionadas: Reflexiones en torno a las representaciones masculinas presentes en la película argentina Soñar, soñar, de Leonardo Favio

IF 0.1 4区社会学 0 HUMANITIES, MULTIDISCIPLINARY

STUDIES IN LATIN AMERICAN POPULAR CULTURE Pub Date : 2015-05-02 DOI:10.7560/SLAPC3306

S. Navone

{"title":"Amistades apasionadas: Reflexiones en torno a las representaciones masculinas presentes en la película argentina Soñar, soñar, de Leonardo Favio","authors":"S. Navone","doi":"10.7560/SLAPC3306","DOIUrl":null,"url":null,"abstract":"The aim of this article is to analyze the ambiguous characteristics of the male representations in Leonardo Favio’s Soñar, soñar (1976). Favio was one of the most popular directors of the period. His films always present figures related to Argentina’s popular classes. In Soñar, soñar, Carlos, a young man from a small town (played by Carlos Monzón) and a popular Argentine boxing champion, meets Mario, an urban artist (played by Gian Franco Pagliaro) and a popular Argentine singer. Carlos decides to travel with Mario to Buenos Aires to become an artist himself. The affective relationship between the characters is ambiguous and exceeds the usual boundaries of Argentine homosocial bonds. Specifically, Carlos’s character is a “country man” in a performance that, intensifying sentimentalism and ridicule, vindicates his subaltern position, thus exceeding the usual limits of the traditional Argentine conceptions of masculinity. These disruptive male figures are displayed in a plot with elements of popular melodrama.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":null,"pages":null},"PeriodicalIF":0.1000,"publicationDate":"2015-05-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.7560/SLAPC3306","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.7560/SLAPC3306","RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"HUMANITIES, MULTIDISCIPLINARY","Score":null,"Total":0}

引用次数: 0

Abstract

The aim of this article is to analyze the ambiguous characteristics of the male representations in Leonardo Favio’s Soñar, soñar (1976). Favio was one of the most popular directors of the period. His films always present figures related to Argentina’s popular classes. In Soñar, soñar, Carlos, a young man from a small town (played by Carlos Monzón) and a popular Argentine boxing champion, meets Mario, an urban artist (played by Gian Franco Pagliaro) and a popular Argentine singer. Carlos decides to travel with Mario to Buenos Aires to become an artist himself. The affective relationship between the characters is ambiguous and exceeds the usual boundaries of Argentine homosocial bonds. Specifically, Carlos’s character is a “country man” in a performance that, intensifying sentimentalism and ridicule, vindicates his subaltern position, thus exceeding the usual limits of the traditional Argentine conceptions of masculinity. These disruptive male figures are displayed in a plot with elements of popular melodrama.

查看原文本刊更多论文

充满激情的友谊:对莱昂纳多·法维奥(Leonardo Favio)导演的阿根廷电影sonar, sonar中的男性形象的反思

本文的目的是分析莱昂纳多·法维奥的Soñar, soñar(1976)中男性表征的模糊特征。法维奥是那个时期最受欢迎的导演之一。他的电影总是呈现与阿根廷大众阶层有关的人物。在Soñar, soñar中，卡洛斯，一个来自小镇的年轻人(由卡洛斯Monzón饰演)和一个受欢迎的阿根廷拳击冠军，遇到了马里奥，一个城市艺术家(由吉安·弗朗哥·帕格里亚罗饰演)和一个受欢迎的阿根廷歌手。卡洛斯决定和马里奥一起去布宜诺斯艾利斯旅行，自己也想成为一名艺术家。人物之间的情感关系是模糊的，超出了阿根廷同性社会关系的通常界限。具体来说，卡洛斯的角色是一个“乡下人”，在表演中，强化了多愁善感和嘲笑，为他的下层地位辩护，从而超越了阿根廷传统男子气概观念的通常限制。这些颠覆性的男性形象被展现在带有流行情节剧元素的情节中。

本文章由计算机程序翻译，如有差异，请以英文原文为准。

求助全文

约1分钟内获得全文求助全文

来源期刊

STUDIES IN LATIN AMERICAN POPULAR CULTURE HUMANITIES, MULTIDISCIPLINARY-

CiteScore

0.10

自引率

0.00%

发文量