A Private Matter

Naturalist Rurality and Juvenile Intersexuality in Julia Solomonoff’s El último verano de la Boyita (2009)

Dados Bibliográficos

ID21726904
AutoresAnna Castillo (0000-0002-8740-853X, Vanderbilt University), A Sanjuan Castillo (Vanderbilt University, autor correspondente)
Ano2023
Volume100
Fascículo2
Páginas239-258
Data de publicação2023-02-01
Peer ReviewedSim
Open AccessNão
TipoARTICLE
PeriódicoBulletin of Hispanic Studies (JOURNAL)
Identificadores do periódicoISSN: 1475-3839 • E-ISSN: 1478-3398
EditoraLiverpool University Press (PUBLISHER • GB)
DOI10.3828/bhs.2023.17
OpenAlexW4321202088
IdiomaEN
Referências citadas14

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 forms of perceiving and categorizing Mario atrophy. The film’s visual structure of wide-angle shots interspersed with seemingly insignificant close-ups of farm life evokes more juvenile ways of coming to recognize intersexuality and, consequently, discourages an adult audience from tapping into more medicalized understandings of adolescence. Through naturalist camerawork and parallel narrative techniques, El último verano de la Boyita provides access to the mentality of children and the rural poor, those existentially furthest from medicalized understandings of health. The resulting saber (knowledge set) is a counter-discourse to more invasive ways of ascribing sex and gender

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