Foucault and Recife's new movie films: critique of the sexual apparatus and new forms of living together
DOI:
https://doi.org/10.36517/arf.v17i1.95421Keywords:
Foucault. Cinema. Sexual apparatus. Aesthetic of existence. New forms of living.Abstract
The text establishes a dialogue between Foucault's notions of sexuality apparatus, heterotopia and cynical parrhesia and two films from Recife's new cinema, Febre do Rato, by Claudio Assis (2011), and Tattoo, by Hilton Lacerda (2012). It involves resorting to Foucault's work to understand certain central aspects of those two films, as well as resorting to those films to test the hypothesis that Foucault's final analyzes of the aesthetics of the Cynics' existence would constitute a critical counterpoint to his previous discussion about the capture of bodies and sexual conducts by the modern sexuality apparatus. The two films seem to give plausibility to that hypothesis, as they are examples of courageous manifestations of another way of living according to a truth that opposes modern mechanisms of disciplining and governing bodies and sexual conducts. As heterotopic community spaces that give centrality to bodies and pleasures, the two films allow us to understand the counter-power of contemporary queer-inspired minority movements.
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