SciELO - Scientific Electronic Library Online

 
 número30La puerta de Latinoamérica (desde las rutas Argentinas): San Salvador de Jujuy en geografías audiovisuales ampliasPampa Bandera. Meditaciones sobre la tierra y el territorio en el film Cuatreros de Albertina Carri índice de autoresíndice de materiabúsqueda de artículos
Home Pagelista alfabética de revistas  

Servicios Personalizados

Revista

Articulo

Indicadores

  • No hay articulos citadosCitado por SciELO

Links relacionados

  • No hay articulos similaresSimilares en SciELO

Compartir


Folia Histórica del Nordeste

versión impresa ISSN 0325-8238versión On-line ISSN 2525-1627

Resumen

SOBERON, Fabián Augusto. Conflicts of power in Nosilatiaj la belleza. Folia [online]. 2017, n.30, pp.29-51. ISSN 0325-8238.

Nosilatiaj or the beauty is atypical for various reasons. First, Nosilatiaj has been filmed in a marginal area. Second, although the problem it poses is not new, the point of view to show power relations is challenging. While there have been films that propose the asymmetrical relationships between bosses and servants (think of Los Dueños, by Toscano and Radusky, for example), Nosilatiaj exposes the conflict between a sector of the criolla society (the white bourgeoisie) and a wichí group through a matter that seems smaller or insignificant: the beauty of the hair. Michel Foucault had already warned about the different modes of control and disciplining that operate in a society. The French philosopher states that the power is not only expressed through by the State and its armed axis (the army and the police), but that power it is externalized and installed through different technologies: schools, hospitals, families, etc. This essay deals with elucidating these conflicts of power within the framework of a film produced and performed from the north of Argentina.

Palabras clave : Cinema; Power; Northwest of Argentina.

        · resumen en Español     · texto en Español     · Español ( pdf )

 

Creative Commons License Todo el contenido de esta revista, excepto dónde está identificado, está bajo una Licencia Creative Commons