Violence, affections, sodororidade in Prayers for the stolen, by Tatiana Huezo
This article aims at presenting a reading, among many possible ones, of the Mexican movie production Prayers for the Stolen (Noche de fuego, 2021), directed by Tatiana Huezo. Our intention is to reflect upon the extreme violence to which the girl and woman characters are subjected, more specifically...
Guardado en:
| Autores principales: | , |
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| Formato: | Artículo revista |
| Lenguaje: | Portugués |
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Área Feminismos, Género y Sexualidades del Centro de Investigaciones "María Saleme de Burnichón" de la Facultad de Filosofía y Humanidades, Universidad Nacional de Córdoba
2022
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| Acceso en línea: | https://revistas.unc.edu.ar/index.php/polemicasfeminista/article/view/39429 |
| Aporte de: |
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I10-R351-article-39429 |
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Universidad Nacional de Córdoba |
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Polémicas Feministas |
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Portugués |
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Artículo revista |
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Prayers for the stolen femicide patriarchy sodororidade violence Noche de fuego feminicidio patriarcado sororidad violencia Noche de fuego feminicídio patriarcado sodororidade violência |
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Prayers for the stolen femicide patriarchy sodororidade violence Noche de fuego feminicidio patriarcado sororidad violencia Noche de fuego feminicídio patriarcado sodororidade violência Caramalac, Rosilene Nantes, Flávio Adriano Violence, affections, sodororidade in Prayers for the stolen, by Tatiana Huezo |
| topic_facet |
Prayers for the stolen femicide patriarchy sodororidade violence Noche de fuego feminicidio patriarcado sororidad violencia Noche de fuego feminicídio patriarcado sodororidade violência |
| author |
Caramalac, Rosilene Nantes, Flávio Adriano |
| author_facet |
Caramalac, Rosilene Nantes, Flávio Adriano |
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Caramalac, Rosilene |
| title |
Violence, affections, sodororidade in Prayers for the stolen, by Tatiana Huezo |
| title_short |
Violence, affections, sodororidade in Prayers for the stolen, by Tatiana Huezo |
| title_full |
Violence, affections, sodororidade in Prayers for the stolen, by Tatiana Huezo |
| title_fullStr |
Violence, affections, sodororidade in Prayers for the stolen, by Tatiana Huezo |
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Violence, affections, sodororidade in Prayers for the stolen, by Tatiana Huezo |
| title_sort |
violence, affections, sodororidade in prayers for the stolen, by tatiana huezo |
| description |
This article aims at presenting a reading, among many possible ones, of the Mexican movie production Prayers for the Stolen (Noche de fuego, 2021), directed by Tatiana Huezo. Our intention is to reflect upon the extreme violence to which the girl and woman characters are subjected, more specifically: the inaction of the Nation-state, which does not fight organized crime which is responsible for kidnaps, rapes and murders of such female characters; the corruption and involvement of police forces with drug trafficking schemes; the unprotected situation and absolute abandonment in which these women live in a small Mexican countryside village. The purpose, then, is to think about the two major aspects related to the engendering of continuous violence against these bodies. There is, on the one hand, the way the women from the village try, yet tentatively, in a sisterhood gesture among them, to preserve the lives of the girls and young women. On the other hand, we are going to analyze the other face of violence: the worst of them, the one which brings into perspective the systemic and objective violence, many times translated as the erasure, the passivity, of the women characters in question. To consider the filmic production, we are going to resort to the critical-theoretical positions of Judith Butler, Vilma Piedade, Julieta Paredes, Slavoj Žižek, among others. |
| publisher |
Área Feminismos, Género y Sexualidades del Centro de Investigaciones "María Saleme de Burnichón" de la Facultad de Filosofía y Humanidades, Universidad Nacional de Córdoba |
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2022 |
| url |
https://revistas.unc.edu.ar/index.php/polemicasfeminista/article/view/39429 |
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2024-09-03T21:43:48Z |
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I10-R351-article-394292024-03-13T20:45:39Z Violence, affections, sodororidade in Prayers for the stolen, by Tatiana Huezo Violencia, afectos, sodororidad en Noche de fuego, de Tatiana Huezo A violência, os afetos, a sodororidade em Noche de fuego, de Tatiana Huezo Caramalac, Rosilene Nantes, Flávio Adriano Prayers for the stolen femicide patriarchy sodororidade violence Noche de fuego feminicidio patriarcado sororidad violencia Noche de fuego feminicídio patriarcado sodororidade violência This article aims at presenting a reading, among many possible ones, of the Mexican movie production Prayers for the Stolen (Noche de fuego, 2021), directed by Tatiana Huezo. Our intention is to reflect upon the extreme violence to which the girl and woman characters are subjected, more specifically: the inaction of the Nation-state, which does not fight organized crime which is responsible for kidnaps, rapes and murders of such female characters; the corruption and involvement of police forces with drug trafficking schemes; the unprotected situation and absolute abandonment in which these women live in a small Mexican countryside village. The purpose, then, is to think about the two major aspects related to the engendering of continuous violence against these bodies. There is, on the one hand, the way the women from the village try, yet tentatively, in a sisterhood gesture among them, to preserve the lives of the girls and young women. On the other hand, we are going to analyze the other face of violence: the worst of them, the one which brings into perspective the systemic and objective violence, many times translated as the erasure, the passivity, of the women characters in question. To consider the filmic production, we are going to resort to the critical-theoretical positions of Judith Butler, Vilma Piedade, Julieta Paredes, Slavoj Žižek, among others. Este trabajo aborda una lectura, entre las muchas posibles, de la producción cinematográfica Noche de fuego (2021), de Tatiana Huezo, una producción mexicana, para reflexionar sobre la violencia extrema a la que son sometidas las niñas y mujeres protagonistas por una serie de cuestiones, a saber: la inanición del estado-nación que no combate al crimen organizado que comete secuestros, violaciones, asesinatos contra estas mujeres; la corrupción y el involucramiento de policías con el narcotráfico; la absoluta desprotección y abandono en que viven en un pequeño pueblo del interior de México. La propuesta, entonces, es pensar en dos aspectos importantes sobre el engendramiento de la violencia continua contra estos cuerpos. Por un lado, está la forma en que las mujeres del pueblo intentan, incluso con pocos recursos, en un gesto de hermandad entre ellas, preservar la vida de las niñas y jóvenes. Por otro lado, analizaremos otra cara de la violencia: la peor de ellas, la que se sitúa en la perspectiva de la violencia objetiva y sistémica que a menudo conlleva el borrado, la inercia, de los personajes femeninos en cuestión. Para pensar la producción fílmica, utilizaremos las propuestas crítico-teóricas de Judith Butler, Vilma Piedade, Julieta Paredes, Slavoj Žižek, entre otros. O presente trabalho trata de uma leitura, dentre as tantas possíveis, da produção cinematográfica Noche de fuego (2021), de Tatiana Huezo, produção mexicana, com o intuito de refletir sobre a violência extrema a qual as meninas e as mulheres personagens estão submetidas por uma série de questões, a saber: a inanição do Estado-nação que não combate o crime organizado que empreende sequestros, estupros, assassinatos contra essas mulheres; a corrupção e o envolvimento de policiais com o narcotráfico; a desproteção e o abandono absolutos em que vivem num pequeno vilarejo no interior do México. A proposta, então, é pensar dois aspectos importantes acerca dos engendramentos da violência contínua contra esses corpos. Há, por um lado, o modo como as mulheres do povoado tentam, ainda que com parcos recursos, num gesto de irmandade entre elas, preservar a vida das meninas e das jovens. Por outro lado, analisaremos outra face da violência: a pior delas, a que está na perspectiva da violência objetiva e sistêmica que trazem, muitas vezes, o apagamento, a inércia, das mulheres personagens em questão. Para pensar a produção fílmica, utilizar-se-ão as proposições teórico-críticas de Judith Butler, Vilma Piedade, Julieta Paredes, Slavoj Žižek, entre outros. Área Feminismos, Género y Sexualidades del Centro de Investigaciones "María Saleme de Burnichón" de la Facultad de Filosofía y Humanidades, Universidad Nacional de Córdoba 2022-11-25 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf text/html https://revistas.unc.edu.ar/index.php/polemicasfeminista/article/view/39429 Polémicas Feministas; Vol. 6 (2022): Gender, Affects and Fiction; 1-19 Polémicas Feministas; Vol. 6 (2022): Género, afectos y ficción; 1-19 Polémicas Feministas; v. 6 (2022): Gênero, afetos e ficção; 1-19 2591-3611 1853-4309 por https://revistas.unc.edu.ar/index.php/polemicasfeminista/article/view/39429/39313 https://revistas.unc.edu.ar/index.php/polemicasfeminista/article/view/39429/39409 Derechos de autor 2022 Rosilene Caramalac, Flávio Adriano Nantes https://creativecommons.org/licenses/by-nc-sa/4.0/ |