The Pirates’ Perspective. Geopolitics, Interstices, and Detours in The Gold Bug (Alejo Moguillansky and Fia-Stina Sandlund, 2014)
Bibliographic Data
| ID | 20203001 |
|---|---|
| Authors | David Oubiña (0000-0002-3377-0103, ORCID, corresponding author) |
| Year | 2019 |
| Volume | 28 |
| Issue | 4 |
| Pages | 527-540 |
| Publication date | 2019-10-02 |
| Open Access | No |
| Type | ARTICLE |
| Venue | Journal of Latin American Cultural Studies (JOURNAL) |
| Journal identifiers | ISSN: 1356-9325 • E-ISSN: 1469-9575 |
| Publisher | Informa UK Limited (PUBLISHER • GB) |
| DOI | 10.1080/13569325.2019.1638234 |
| OpenAlex | W2970186656 |
| Language | EN |
| Citations received | 1 |
| References cited | 4 |
El escarabajo de oro/The Gold Bug is a film made of detours. This commissioned film was conceived as an international North-South collaboration. The original intent nevertheless changed shape in the process, which produced a chain reaction of variations: this straying in turn shapes a narrative that proliferates endlessly through metonymical forms. The itinerary of making this film encapsulates the conflicts between the aspirations of an independently produced cinema and the imperatives of international subsidies, as well as those between the identity of national cinemas and transnational horizons.The film’s opening credits announce that the movie draws inspiration from Poe’s short story of the same title, and also from Treasure Island, which it “adapts to the screen from the point of view of pirates.” This corsair’s perspective affords a strategy to slip into the interstices of collaborative modes and eschew the impositions of paternalism in the demands of funding bodies. The Gold Bug fully inhabits this multicultural contact zone that is contemporary cinema; still, despite its questioning of essentialist notions of national identity, it relies on cultural stereotypes which it deploys in a satirical vein, as it singles out the persistence of geopolitical differences and discusses the limits of the redistribution that transnational networks are thought to enable
Aesthetics · Art · Geopolitics · Literature · Media studies · Movie theater · Narrative · Political science · Politics · Sociology · Law · Political and Social Dynamics in Chile and Latin America · Political theory and Gramsci
| Citations per year | 0.25 |
|---|---|
| Citation span | 2022 - 2022 (1) |
| Highly cited | No |