Abstract
The Argentinian territorialization of the queer perspective articulated the academy with social, TLGB and human rights movements. Empowered by trans/transvestite policies against police and institutional repression, the queer critique made visible the hierarchy produced by the sex-generic differences through the social maps traced by the class, ethnic and age stratifications. The law that expanded marriage irrespective of the sex of its partners (2010) and the Gender Identity Law (2012), among others, challenge and impact the institutional implementation of Integral Sexual Education in the face of the tension between the identitarian normalization of differences and the systematic questioning and disassembly of (a)normalization dynamics. This work proposes a political genealogy of the first territorializations of the queer perspective in Argentina to reflect on the articulation of activism and social movements with the institutional mechanisms of production, legitimation and circulation of knowledge in a sex-generic key.
Highlights
The Nuevo Cine Español often employed the gaze of children as an effective strategy to show the traumatic effects of events such as the Civil War and Francoism on the Spanish society
The Nuevo Cine Español employed the gaze of what Marsha Kinder called “the children of Franco” as an effective strategy to show the traumatic effects of the Civil War and Francoism on Spanish society (“The Children” 59)
Drawing on the critical lens of queer theory, I want to explore another perspective of this issue by focusing on three key films
Summary
Resumen El Nuevo Cine Español empleó frecuentemente la mirada de los niños para mostrar los efectos traumáticos de la guerra civil y la postguerra en la sociedad española. Un rasgo prominente de este discurso es que asume que estos filmes son historias de “niños inocentes”. Argumento que ese discurso se ha convertido en dominante a expensas de aspectos de la subjetividad de los niños protagonistas como su sexualidad, que queda silenciada al privilegiar el mito de la inocencia infantil. Apoyándome en las herramientas de la teoría queer, analizo tres filmes que cuestionan las implicaciones heteronormativas de este concepto de inocencia infantil. Al cuestionar el modelo secuencial de desarrollo sexual, estos dos filmes presentan a los niños como sujetos deseantes con voluntad para expresar y negociar sus impulsos sexuales y sus afectos. Palabras clave: niños queer; inocencia infantil; sexualidad infantil; Carlos Saura; Nuevo Cine Español; Jaime de Armiñán; sexo intergeneracional
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