La máquina ‘Cornelia frente al espejo’: sub-versiones ante el género y la identidad

Abstract

The following article analyzes the story “Cornelia frente al espejo,” wri-tten by Silvina Ocampo in 1988, and the movie released in 2012 with homonymous title, directed by Daniel Rosenfeld, as one composition. To that end, elements and concepts of the Feminist Film Theory, Queer Theories and French Post-Structuralism are taken into consideration. Far from pretending to position itself as a literary and/or film review of each one of the works individually, this article aims at distinguishing the operations performed by the text-movie machine at play with questions on gender (or, more precisely, the process of genderization) and identi-ty. In this sense, both pieces -with their mutual interplays- are presen-ted in one composition as a semiotic-narrative corpus that works as foundations on and from which the building of a reader-spectator with specific features may be distinguished. The various affective tonalities, images, symbols and disruptions offered by the text-movie machine may also be identified.