Anna Castillo
Datos Biográficos
| ID | 9615399 |
|---|---|
| NOMBRE | Anna Castillo |
| NOMBRES | Anna |
| APELLIDO | Castillo |
| FIRMA | CASTILLO A |
| AFILIACIONES | Vanderbilt University |
| ORCID | 0000-0002-8740-853X |
| VERIFICADO | Sí |
| TOTAL DE OBRAS | 2 |
| TOTAL DE CITAS | 0 |
| TOTAL COMO AUTOR | 2 |
| TOTAL COMO EDITOR | 0 |
| PRIMER AÑO DE PUBLICACIÓN | 2023 |
| AÑO MÁS RECIENTE DE PUBLICACIÓN | 2025 |
| ÍNDICE H | 0 |
Intersubjective Perspectives on Intersexuality and Spectator Identification in Puenzo’s XXY
Intersexuality is underrepresented in film, yet in key sequences in XXY, perspectival patterns kindle attentiveness to intersex subjectivity by focalizing the experiences of a secondary, non-intersex identified character. What is gained by rendering intersexuality from the vantage point of one who has yet to experience it? This article argues that the film’s visual and aural grammar queers intersexuality itself, undoing dichotomic borders between…
A Private Matter
It is sometimes said that children see things differently from adults. Childlike and naturalist perspectives in Julia Solomonoff’s film El último verano de la Boyita (2009) create spectatorial experiences that approximate this difference. The film revolves around Mario, an intersex farmhand who befriends the landowner’s young daughter, Jorgelina. As the camera portrays Jorgelina’s curiosity towards Mario and her unfailing acceptance of him, adult…
Sin obras prominentes en esta página.
A Private Matter
It is sometimes said that children see things differently from adults. Childlike and naturalist perspectives in Julia Solomonoff’s film El último verano de la Boyita (2009) create spectatorial experiences that approximate this difference. The film revolves around Mario, an intersex farmhand who befriends the landowner’s young daughter, Jorgelina. As the camera portrays Jorgelina’s curiosity towards Mario and her unfailing acceptance of him, adult…
Intersubjective Perspectives on Intersexuality and Spectator Identification in Puenzo’s XXY
Intersexuality is underrepresented in film, yet in key sequences in XXY, perspectival patterns kindle attentiveness to intersex subjectivity by focalizing the experiences of a secondary, non-intersex identified character. What is gained by rendering intersexuality from the vantage point of one who has yet to experience it? This article argues that the film’s visual and aural grammar queers intersexuality itself, undoing dichotomic borders between…
Art (1 obras) · Gender, Feminism, and Media (1 obras) · Historical Studies on Reproduction, Gender, Health, and Societal Changes (1 obras) · Humanities (1 obras) · Latin American and Latino Studies (1 obras) · LGBTQ Health, Identity, and Policy (1 obras) · Media, Gender, and Advertising (1 obras) · Perception (1 obras) · Self identification (1 obras) · Sexual Differentiation and Disorders (1 obras)