DE EMOCIONES Y REALIDADES. LA REPRESENTACIÓN EN EL

DE EMOCIONES Y REALIDADES.
LA REPRESENTACIÓN EN EL CINE DE LA VIDA ÍNTIMA
DE LAS MUJERES DE BARRANQUILLA*
Emotions and Realities, the Intimate Life Portrayal of
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Ana Cecilia Cervantes Sampayo
2#+30$,.4,56().+.768,.%,9:$(73;$(3(%<,=2:56(),0%,>'(.%0+?,@%(A0$+(B#B,
B0, "0$<0%C, D.$'0<#, =EFFG?H, 2#+30$, 0%, 1./'%(:#:(I%, J'B(.A(+'#), 8,
5'K)(:(B#B, 8, :#%B(B#3#, #, 56L, 0%, 1./'%(:#:(I%, =LMJ?C, @%(A0$+(B#B,
J'3I%./#, B0, "#$:0).%#C, M+7#N#, =EFFO?P, 5#$3(:(7#%30, B0), <$'7., B0,
(%A0+3(<#:(I%, Q%30$4#R, =0%, :$0#:(I%?, B($(<(B., 7.$, S.+07, 2#$(#, 1#3#)TC,
UAB.
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#%#:0:()(#P:0$A#%30+X</#()P:./
RESUMEN
Y#+,7$(/0$#+,7(0R#+,B0,:(%0,8,A(B0.,B0,/'Z0$0+,B0),1#$(K0,:.)./K(#%.,
4'0$.%,7$.B':(B#+,0%,"#$$#%&'())#C,0A.:#%,'%#,0[7)\:(3#,+'KZ03(A(B#B,
40/0%(%#,8,+0,0[6(K(0$.%,Z'+3.,#),0/70R#$,0),+(<).,]]QP,,9.%,,^::(.%0+,
&'0, B#%, :'0%3#, B0, ).+, B0+0.+, /_+, \%3(/.+, 8, :.%3$#B(:3.$(.+, B0, )#+,
/'Z0$0+C, B0, )#, $0:'70$#:(I%, B0), 6.<#$, :./., 0+7#:(., B0, 0[7$0+(I%,
40/0%(%#,8,0[7).$#%,0),:'0$7.,:./.,%'0A.,)'<#$,B0,+(<%(^:#:(I%P,M+,)#,
/'0+3$#,B0,'%#,#$&'(30:3'$#,0/.:(.%#),7.+340/(%(+3#C,/_+,B$#/_3(:#,0,
($I%(:#,&'0,7.)\3(:#,=2:`.KK(0C,EFFGH,J)(:0C,!OOa?C,&'0,+0,:.%+3$'80,
#,7#$3($,B0,)#,$07$0+0%3#:(I%,B0,)#+,0/.:(.%0+,8,)#+,0[70$(0%:(#+,&'0,
A(A0%,)#+,/'Z0$0+,B0,"#$$#%&'())#C,#6.$#,$0:.).:#B#+,0%,0),:0%3$.,B0,
las narraciones. De tal forma, Rita va al supermercado (Jessica Sofía
Mitrani, 2000), La cita (Alana Farrah, 2004) y !"!#$! (Julieta
2#$\#C,EFF!?,+.%,7(0R#+,4'%B#/0%3#)0+,7#$#,0),$0:.%.:(/(0%3.,B0,)#+,
/0/.$(#+,0/.:(.%#)0+,8,)#+,0[70$(0%:(#+,0+3b3(:#+,B0,)#+,/'Z0$0+C,7.:.,
estudiadas en el cine colombiano. Ellas descubren algo intrigante: una
(%3(/(B#B,0%,:$(+(+,:.%+3#%30C,&'0,6#:0,B0,).,0[3$#.$B(%#$(.,'%,60:6.,
:.3(B(#%.C,&'0,/0).B$#/#3(R#,+',7$.7(#,$0#)(B#BP,=1#3#)TC,EFFO?P
*
M+30,#$3\:').,7$0+0%3#,7#$30,B0,).+,$0+')3#B.+,B0,)#,30+(+,B.:3.$#),cd(.)0%:(#,8,M/.:(I%,0%,0),
:(%0,:.)./K(#%.e,B($(<(B#,7.$,0),1#30B$_3(:.,L$P,S.+07,2#$(#,1#3#)TP
Cervantes - De emociones y realidades. La representación en el cine de la vida íntima de las... (pp.81- 98)
!
Palabras clave:,1(%0,B0,2'Z0$0+C,`07$0+0%3#:(I%C,5.+340/(%(+/.C,D%'0A.,
Realismo Melodramático, Memoria Emocional, Autorreferencialidad.
ABSTRACT
f60, ^$+3, /.A(0+, #%B, A(B0.+, .4, 1.)./K(#%, 1#$(KK0#%, ;./0%, ;0$0,
7$.B':0B, (%, "#$$#%&'())#C, 0A.g0B, #%, 0[7)(:(3, 40/#)0, +'KZ0:3(A(38, #%B,
;0$0,0[6(K(30B,Z'+3,#3,360,K0<(%%(%<,.4,]]Q,:0%3'$8P,f608,#$0,^:3(.%+,
36#3,#::.'%3,4.$,360,/.+3,(%3(/#30,#%B,:.%h(:3(%<,B0+($0+,.4,;./0%C,3#)g,
#K.'3,360,$0:.A0$(%<,.4,6./0,#+,#,+7#:0,.4,0[7$0++(.%,#%B,+:.'3,360,K.B8,
#+,#,%0;,7)#:0,.4,$07$0+0%3#3(.%P,f608,$0A0#),#,7.+340/(%(+3,0/.3(.%#),
#$:6(30:3'$0C,/.$0,B$#/#3(:,#%B,($.%(:,36#%,7.)(3(:#),=2:`.KK(0C,EFFGH,
J)(:0C,!OOi?C,:.%+3$':30B,4$./,360,$07$0+0%3#3(.%,.4,360,0/.3(.%+,#%B,360,
0[70$(0%:0+,.4,;./0%,)(A(%<,(%,"#$$#%&'())#C,;6.,#$0,%.;,$07)#:0B,(%,360,
:0%30$,.4,%#$$#3(A0+P,Q%,36#3,;#8C,Rita va al supermercado (Rita Goes to
360,9'70$/#$g03C,S0++(:#,9.4\#,2(3$#%(C,EFFF?C,La cita (The Date, Alana
Farrah, 2004) and !"!#$! (Julieta María, 2001) are essential works for
360,$0:.<%(3(.%,.4,360,0/.3(.%#),/0/.$(0+,#%B,360,#0+3603(:,0[70$(0%:0+,
.4,;./0%C,)(33)0,+3'B(0B,(%,1.)./K(#%,:(%0/#P,f608,$0A0#),+./036(%<,
+:60/(%<U,#%,(%3(/#:8,(%,#,:.%+3#%3,:$(+(+C,;6(:6,/#g0+,360,0[3$#.$B(%#$8,
#,4#:3,.4,0A0$8B#8,)(40C,;6(:6,/0).B$#/#3(R0B,360($,.;%,$0#)(38P,=1#3#)TC,
EFFO?P
Key words: -./0%,1(%0/#C,`07$0+0%3#3(.%C,5.+340/(%(+/C,D0;,
Melodramatic Realism, Emotional Memory, Self-referentiality.
Recibido: 1 julio de 2010
Aprobado: 30 de julio 2010
E
folios 24, 2010, Facultad de Comunicaciones, Universidad de Antioquia
INTRODUCCIÓN
M),:(%0,B0,/'Z0$0+,+(<'0,+(0%B.,'%,)'<#$,(%0[(+30%30,B0%3$.,B0,0+3'B(.+,#:#Bb/(:.+,
+.K$0,:(%0,:.)./K(#%.C,'%,7'%3.,#70%#+,A(+(K)0,B0%3$.,B0,'%#,:(%0/#3.<$#4\#,0%,
:.%+3#%30,/.A(/(0%3.,8,0%,7)0%#,:.%+3$'::(I%P,J,70+#$,B0,&'0,+0,6#,7'K)(:#B.,
'%,:#3_).<.,6(+3.$(.<$_^:.,B0B(:#B.,#,)#,c7$0+0%:(#e,B0,)#+,/'Z0$0+,0%,0),:(%0,
:.)./K(#%.,=J$K.)0B#C,k+.$(.C,EFFj?,0+,:(0$3.,&'0,+I).,).+,:$\3(:.+,6#%,#%#)(R#B.,
#)<.,/_+,&'0,0),$.),B0,)#+,/'Z0$0+,0%,0),:(%0C,7#$#,(%30%3#$,:./7$0%B0$,)#+,70)\:')#+,
B0, 2#$3#, `.B$\<'0R, ., 1#/()#, Y.K.<'0$$0$.C, #+\, :./., )#+, %'0A#+, 7$.7'0+3#+,
de Libia Stella Gómez, Adriana Arango o María Camila Lizarazo en sus recién
0+3$0%#B#+, I70$#+, 7$(/#+1P, 50$., 0))#+, %'%:#, 6#%, +(B., A(+3#+, :./., )#, 0[7$0+(I%,
/(+/#,B0,'%#,:(%0/#3.<$#4\#,B(+3(%3#C,(%:)'+.,+0,7'0B0,B0:($,&'0,)#,+'KZ03(A(B#B,
femenina es un hecho negado dentro de la cinematografía colombiana.
L0,3#),/#%0$#C,%.,7'0B0,70%+#$+0,&'0,Rita va al supermercado (2000), La cita
(2004) y !"!#$!,=EFF!?C,.K$#+,:.%A.:#B#+,7#$#,0+30,0+3'B(.C,3#%,+I).,70$30%0:0%,
#,'%,40%I/0%.,7'%3'#),&'0,7.$,+'+,:#$#:30$\+3(:#+,<0.<$_^:#+,8,B0,<b%0$.,B0K0,
+0$,:.%+(B0$#B.,#<)'3(%#%30P,M),3(0/7.,6(+3I$(:.,0%,0),&'0,4'0$.%,7$.B':(B#+,8,+',
$07$0+0%3#:(I%,B0,)#+,/'Z0$0+,6#:0,B0,0+3#+,7(0R#+,'%#,/'0+3$#,B0,)#,(%h'0%:(#,
B0),5.+40/(%(+/.,8,0),%'0A.,$0#)(+/.,/0).B$#/_3(:.,0%,)#+,%'0A#+,%#$$#3(A#+,
#'B(.A(+'#)0+P,S0++(:#,9.4\#,2(3$#%(C,J)#%#,l#$$#6,8,S')(03#,2#$\#,6#%,<0%0$#B.,
'%#,.K$#,3.3#)/0%30,6030$.<b%0#C,'3()(R#%B.,B(40$0%30+,4.$/#3.+,8,30[3'$#+C,&'0,
$0A0)#,'%,/(+/.,^%U,)#,%0:0+(B#B,B0,0[7.%0$,)#,A(B#,\%3(/#,B0,/'Z0$0+,&'0,6#%,
:.%+3$'(B., 3.B#, '%#, #$&'(30:3'$#, 0/.:(.%#), B0%3$., B0, 0+7#:(.+, \%3(/.+, B.%B0,
+0,)(K$#%,70&'0N#+,K#3#))#+,7.$,)#,B0^%(:(I%,B0,+',(B0%3(B#BC,K#3#))#+,&'0,%#B#,
3(0%0%,&'0,A0$,:.%,)#+,7$(/0$#+,)':6#+,40/(%(+3#+C,70$.,&'0,0[6(K0%,(/_<0%0+,B0,
/'Z0$0+,7.+/.B0$%#+C,3#%,$0#)(+3#+,:./.,0/.:(.%#)0+P
EMOCIÓN+REALIDAD=MELODRAMA
J%30+, &'0, 7#$0:0$, :.%3$#B(:3.$(#, $0+')3#, (%&'(03#%30, )#, :.0[(+30%:(#, $0#)(B#Bm
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%'0A.,$0#)(+/.,/0).B$#/_3(:.,%.,0+,/_+,&'0,0),$0#)(+/.,))0A#B.,#,+',/_[(/#,
0[7$0+(I%C,'%,$0#)(+/.,B./(%#B.,7.$,)#,0/.:(I%P,n,#&'\,0%3$#%,0%,Z'0<.,A#$(.+,
#+70:3.+, %#$$#3(A.+U, 0), :'0$7., :./., )'<#$, B0, $07$0+0%3#:(I%C, )#, 7b$B(B#, B0),
+'Z03.,m&'0,0%,3b$/(%.+,B0,l.':#')3,3(0%0,&'0,A0$,:.%,)#,7b$B(B#,B0),+(<%(^:#%30,
:./.,:.%30%0B.$,B0,+(<%(^:#B.+,=1#3#)_C,EFFO?C,&'0,0)(/(%#,#),70$+.%#Z0,7#$#,
:.%A0$3($).,0%,+\/K.).mC,8,0),'+.,B0,)#,/o+(:#,8,).+,040:3.+C,&'0,30$/(%#%,7.$,
0A.:#$,'%,$0#)(+/.,#,3.B#+,)':0+,+(%(0+3$.P
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/0).B$#/_3(:.C, '%, +\%3./#, B0, )#, :')3'$#, &'0, 3(0%0, 3.B., &'0, A0$, :.%, 0), <b%0$.,
:(%0/#3.<$_^:.,0%,)#,/0B(B#,0%,&'0,$0:.<0,+'+,0)0/0%3.+,/_+,:#$#:30$\+3(:.+,
7#$#, '3()(R#$).+, :./., #)0<.$\#, B0, '%#, %'0A#, 30%B0%:(#, 0%, )#, (/#<0%U, )#, A'0)3#,
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Cervantes - De emociones y realidades. La representación en el cine de la vida íntima de las... (pp.81- 98)
j
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).,+(%(0+3$.,8,:.%,0),:.%:073.,B0),unheimlich,B0,960))(%<C,8,7'0B0,+0$,0[7)(:#B.,
:./.,#&'0)).,&'0,$0+')3#,c0[3$#N.,0,(%&'(03#%30e,=M$$_R'$(RC,EFF!?,0%,)#,(/#<0%P,
Y., +(%(0+3$., 0+, )#, $07$0+0%3#:(I%, B0, '%, 0+7#:(., :.3(B(#%., (%A#B(B., 7.$, #)<o%,
0)0/0%3., 70$3'$K#B.$C, &'0, 0$#, +0:$03., 8, 70$/#%0:\#, .:')3.C, c#&'0))#, +'0$30, B0,
0+7#%3.+.,&'0,#40:3#,)#+,:.+#+,:.%.:(B#+,8,4#/()(#$0+,B0+B0,3(0/7.,#3$_+e,=l$0'BC,
!O!OUE?,8,&'0,#),+#)($,#,)#,)'R,+0,:.%A(0$30,0%,'%#,7#$#B.Z#,(%&'(03#%30C,&'0,$0A0)#,
lo más íntimo y desata las emociones ocultas.
J),$0:.%.:0$,).+,0)0/0%3.+,&'0,:./7.%0%,0),:./7)0Z.,0%3$#/#B.,B0),/0).B$#/#,
moderno, íntimamente relacionado con la tesis freudiana de lo siniestro, se
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7#$#, :.%A0$3($+0, 0%, 0+:0%#$(., B0, (%30$b+, 7oK)(:.H, 70$.C, 0), :'0$7., 3#/K(b%, 0+,
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B07.+(3#$(.,B0,0/.:(.%0+,=1#3#)_C,EFFO?P,5.$,.3$#,7#$30C,)#+,/#%(7')#:(.%0+,B0),
3(0/7.,8,).+,/o)3(7)0+,7'%3.+,B0,A(+3#,#)30$#%,)#+,%#$$#:(.%0+,8,0),:#$_:30$,B0,).+,
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)#,(/#<0%C,0%,)#,#::(I%,&'0,B#,A(B#,#,).+,70$+.%#Z0+,8,&'0,#,)#,A0R,).+,$07$0+0%3#P,
En este sentido, Rita va al supermercado (2000), La cita (2004) y !"!#$!
=EFF!?,+0,(%+0$3#%,B0%3$.,B0,)#+,%'0A#+,B(%_/(:#+,B0),#'B(.A(+'#),:.%30/7.$_%0.,
7#$#, 6#K)#$, B0, #&'0))., &'0, /_+, (/7.$3#, #, )#+, /'Z0$0+, B0, 0+3#, <0%0$#:(I%U, +'+,
0/.:(.%0+P,n,6#K)#/.+,B0,0/.:(.%0+C,%.,B0,+0%3(/(0%3.+C,7.$&'0,+0,3$#3#,B0,'%,
$0:.%.:(/(0%3.,B0,).,+(/KI)(:.,8,%.,B0,).,B$#/_3(:.P,L0,60:6.C,)#,30.$\#,B0,1#3#)T,
%.,+'$<0,#,7#$3($,B0),#%_)(+(+,B0),:(%0,B0,/'Z0$0+C,7#$#,0),#'3.$,)#+,0/.:(.%0+,0+3_%,
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+0,:.%+3$'80%,#,7#$3($,B0,+\/K.).+,7.7')#$0+,8,+#3'$#:(.%0+,0+3b3(:#+C,040:3(+3#+C,
/_+, :0$:#%#+, #), 6(70$$0#)(+/., B0, "#'B$())#$B, =!OOa?, &'0, #, )#, /(+/#, $0#)(B#BP,
M+30,0+,0),0+:0%#$(.,7.+3$0#)(+3#,0%,0),&'0,+0,/'0A0,0),5.+340/(%(+/.P
EL POSTFEMINISMO EN LA ERA POST
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'%, 4#:()(3#B.$, B0, )#, (/#<0%, B0), 7.B0$, 7#3$(#$:#), #, 7#$3($, B0, )#, 0)(/(%#:(I%, B0),
+0%3(B.,B0,).,40/0%(%.,7#$#,:.%A0$3($).,0%,'%,.KZ03.,+(/KI)(:.,/_+,B0,)#,(/#<0%,
=2')A08C,!OaW?C,0),5.+40/(%(+/.,/'0+3$#,3.B#,+',:./7)0Z(B#B,#),$0:.%.:0$,)#+,
)':6#+, <#%#B#+, 7.$, 0), 40/(%(+/., /_+, $#B(:#)C, /(0%3$#+, 7.$, .3$., )#B., 3$#3#, B0,
$0:'70$#$,#&'0))#+,)':6#+,%.,+'70$#B#+P,M),5.+340/(%(+/.,%.,#%'%:(#,0),4$#:#+.,
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folios 24, 2010, Facultad de Comunicaciones, Universidad de Antioquia
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/'%B.C,0,(%:)'+.C,0%,#)<'%.+,:#+.+C,:./.,/'Z0$0+,40#+,8,K#$K'B#+,=J)(:0C,!OOi?C,
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70$^),&'0,B0Z#,7.$,4'0$#,#,)0+K(#%#+C,3$#%+<b%0$.+,8,/'Z0$0+,7.$3#B.$#+,B0,.3$#+,
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segunda ola de cambio, y es ahí donde radican sus ansiedades, donde se centran
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(McRobbie, 2004).
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l0/(%(+/., &'0, #))\, +0, 6#:0%C, 70$., 0+., %., )#+, $0)#:(.%#, B($0:3#/0%30, :.%, ).+,
0Z0/7)#$0+,/_+,7.7')#$0+,B0),l0/(%(+/.,lite o con las autoras de %&'%"()'*3. Lo
interesante del análisis de las obras de Mitrani, Roa y María es como en ellas se
:.%A.:#%,(/_<0%0+,+'$<(B#+,B0,/0/.$(#+,7#+#B#+C,(/_<0%0+,0/.:(.%#)0+,B0,+'+,
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MEMORIAS EMOCIONALES DE BARRANQUILLA
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/03.B.).<\#+,=EFFOU!!?P,,L0,3#),4.$/#C,+0,7'0B0%,'3()(R#$,).+,:.%:073.+,/0/.$(#,
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en imágenes.
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Rita va al supermercadoC,7.$,0Z0/7).C,:'0%3#,)#,6(+3.$(#,B0,'%#,/'Z0$,&'0,+I).,
&'(0$0,($,#,:./7$#$)0,:0$0R#+,#,+',/#$(B.C,70$.,&'0,'%#,A0R,0%3$#,#),+'70$/0$:#B.,
+0, 0%:'0%3$#, 0%, :#B#, +0::(I%, :.%, '%, 3(7., B0, /'Z0$, &'0, )0, 6#:0, $070%+#$, +',
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7#%.$#/#,5.+340/(%(+3#,#:3'#),=d0$,^<'$#,!?P
Figura1. Lady Di, Frida Kahlo y Sor Juana Inés de la Cruz. Fotogramas de Rita va al supermercado (Jessica
Sofía Mitrani, 2000).
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folios 24, 2010, Facultad de Comunicaciones, Universidad de Antioquia
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LAS ESTACIONES DE RITA: DE LA ETAPA DE LA CARNE A LA
BÚSQUEDA DE LA REDENCIÓN
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folios 24, 2010, Facultad de Comunicaciones, Universidad de Antioquia
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diferentes ideas de lo femenino.
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Cuadro 1. Asociación de elementos de la puesta en escena y las viñetas con las etapas de la mujer.
La Sección La Viñeta
La ironía de lo
siniestro
La imagen
emocional
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VIDAS PARALELAS / VIDAS CRUZADAS
Alana Farrah Roa utiliza en La cita,(/_<0%0+,))0%#+,B0,B0,:.).$,8,B0,)'R,&'0,B#%,
:./.,$0+')3#B.,'%#,7'0+3#,0%,0+:0%#,+(/()#$,#,)#,30)0%.A0)#U,(/_<0%0+,:0%3$#B#+,
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música incidental. La cita recrea el encuentro de dos mujeres, Amalia y Ana
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folios 24, 2010, Facultad de Comunicaciones, Universidad de Antioquia
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Espacio público = Ana Luisa
Espacio privado = Amalia
CAFÉ
HABITACIÓN
CARRO/CALLE
CENTRO
COMERCIAL
LIBRERÍA
COMEDOR
COCINA
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Cervantes - De emociones y realidades. La representación en el cine de la vida íntima de las... (pp.81- 98)
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UN VIAJE HACIA LO DESCONOCIDO
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TEXTURASÍMBOLO
ACCIÓNEMOCIÓN
EMOCIONES
ESTÉTICAS
MÚSICATEMPO
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)#, 3$(+30R#C, 70$., '%#, 3$(+30R#, A0+3(B#, B0, %0<$.C, #), 0+3()., A(:3.$(#%.C, '%#, 3$(+30R#,
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ritmo de una tonada infantil.
Cervantes - De emociones y realidades. La representación en el cine de la vida íntima de las... (pp.81- 98)
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8,B0K0,^%#)(R#$,:.%,)#,/'0$30,.,:.%,0) off de la cámara. La última secuencia de
"!#$!,30$/(%#,:.%,)#,:#\B#,#),+'0).,B0,S')(03#,2#$\#,8,)#,7b$B(B#,B0),0Z0,B0,
:_/#$#C,3.B.,0%,)#,(/#<0%,7#$0:0,/'0$3.P
CONCLUSIONES
Y#+,0/.:(.%0+,/#%(7')#%,)#+,#::(.%0+,B0,).+,70$+.%#Z0+,0%,0),0+:0%#$(.,B0,0+30,
%'0A.,$0#)(+/.,/0).B$#/_3(:.,#),&'0,#+(+3(/.+C,B.%B0,c)#,$0)#:(I%,B0),+0$,:.%,0),
/'%B.,+0,K#+#,0%,0+#+,(/_<0%0+,0/.:(.%#)0+,&'0,)0,B#%,+0%3(B.,#,+',0[(+30%:(#eP,
J+\C,/(0%3$#+,).,.KZ03(A.,3(0%B0,#,)#,0+3#K()(B#BC,).,+'KZ03(A.,+0,B0+#$$.))#,+.K$0,
)., (%0+3#K)0, =9#)B#$$(#<#C, EFFEU!iO?, &'0, #, A0:0+, 3#/K(b%, 7#$0:0, :.%4'+.P, Y#+,
secuencias emocionales de Rita va al supermercado, La cita y !"!#$! dan
cuenta de las luchas, los deseos, las ansiedades, los triunfos, las confusiones y las
4$'+3$#:(.%0+,&'0,(/7)(:#%,).,40/0%(%.P
M+3#+,7(0R#+,#'B(.A(+'#)0+,0+3_%,:.%+3$'(B#+,+.K$0,4.$/#+,%#$$#3(A#+,A#%<'#$B(+3#+,
:#$#:30$\+3(:#+,B0,)#,0$#,5.+3P,9.%,7.+3/.B0$%#+,0%,:'#%3.,:$0#%,$0)#3.+,%.,)(%0#)0+C,
#7#$0%30/0%30,%.m%#$$#3(A.+C,&'0,%.,7)#%30#%,'%,^%#),B0^%(3(A.C,&'0,7'0B0%,+0$,
:.%3#B#+,B0,/':6#+,/#%0$#+P,9.%,7.+340/(%(+3#+,7.$&'0,$0:.%.:0%,'%#,#/7)(#,
<#/#, B0, /'Z0$0+, &'0, 3$#+:(0%B0%, 0), /.B0)., B0, )#, /'Z0$, K)#%:#C, 40/(%(+3#, 8,
B0), 7$(/0$, /'%B.C, 7.$&'0, $0h0Z#, 3.B#+, )#+, #%+(0B#B0+, 8, :.%3$#B(::(.%0+, B0, )#,
/'Z0$, :.%30/7.$_%0#C, 0+70:(#)/0%30, 0%, )., &'0, :.%:(0$%0, #), +0[., 8, #), <b%0$.P,
n, ^%#)/0%30C, 3#/K(b%, +.%, 7.+3$0#)(+3#+, 7.$&'0, +'+, (/_<0%0+, /0).B$#/_3(:#+,
/0R:)#%,0),/(0B.C,:.%,0),6'/.$,8,0),30$$.$C,0+,B0:($C,+0,/'0A0%,0%3$0,).,+(%(0+3$.C,
).,($I%(:.,8,).,#7.:#)\73(:.P
J7#$0%30/0%30, )#+, $07$0+0%3#:(.%0+, #'B(.A(+'#)0+, B0, 60:6.+, $0#)0+C,
6(+3I$(:#/0%30, $0:.%.:(K)0+C, #%')#%, ).+, $0:'0$B.+, :./., 7$0+0%:(#, #:3(A#, B0),
7#+#B.C,.,30$<(A0$+#%,B0,#)<'%#,/#%0$#,0+0,7#+#B.P,Y.,:(0$3.,0+,&'0,9#)B#$$(#<#,
6#,$0:.%.:(B.,&'0,:'#%B.,)#,#$&'(30:3'$#,+0,:.%A(0$30,0%,$07$0+0%3#:(I%,0),7#+#B.,
%.,/'0$0,=9#)B#$$(#<#C,EFFEU!Wj?P,,5'0B0,.:'$$($,).,/(+/.,:.%,0),#'B(.A(+'#)C,0),
B0+:'K$(/(0%3.,B0,6(+3.$(#+,A0$#:0+C,#7#$0%30/0%30,0+:.%B(B#+,8,#6.$#,B0+A0)#B#+,
+(/KI)(:#/0%30,#,3$#Ab+,B0,)#,^::(I%C,6#:0,B0,)#,#7#$(:(I%,B0,0+3#+,7(0R#+,8,B0,)#,
7$(/0$#,Bb:#B#,B0),+(<).,]]Q,'%,7'%3.,B0,(%h0[(I%,0%,)#,$07$0+0%3#:(I%,B0,)#+,
mujeres de la costa Caribe colombiana.
OG
folios 24, 2010, Facultad de Comunicaciones, Universidad de Antioquia
Julieta María, Jessica Sofía Mitrani y Alana Farrah Roa se reconocen en las mujeres
8, )#+, 6(+3.$(#+, &'0, 7$.3#<.%(R#%, +'+, .K$#+C, 7.$&'0, 0))#+, ).<$#%, B0^%($, 7.$, '%#,
7#$30C,)#,:./7)0Z#,+'KZ03(A(B#B,B0,)#+,/'Z0$0+,B0,"#$$#%&'())#C,8,7.$,.3$#,7#$30C,)#,
(/#<0%,B0,'%#,:('B#B,&'0,%.,+0,7'0B0,0[7)(:#$,#,3$#Ab+,B0,+',#$&'(30:3'$#,'$K#%#C,
+(%.,#,3$#Ab+,B0,+',#$&'(30:3'$#,0/.:(.%#)P,n#,2#$A0),2.$0%.,6#K\#,3$#3#B.,B0,
0[7)(:#$,:I/.,0$#,"#$$#%&'())#,0%,A#$(#+,B0,+'+,.K$#+C,8,^%#)/0%30,).<$#,6#:0$).,
0%,+',%.A0)#,En diciembre llegaban las brisasU,c'%#,:('B#B,:.%30/7)#B#,:.%,0+#,
.KZ03(A(B#B,&'0,+I).,:.%:0B0%,)#,(%3(/(B#B,8,)#,B(+3#%:(#e,=!O a?P
L0+B0,)#,(%3(/(B#B,8,)#,B(+3#%:(#,p,%.,+(0/7$0,4\+(:#m,+(<'0%,+'$<(0%B.,6(+3.$(#+,
&'0, B#%, :'0%3#, B0, .3$.+, '%(A0$+.+, 40/0%(%.+, B0+:'K(0$3.+, 7.$, S0++(:#, 9.4\#,
2(3#%(C,J)#%#, l#$$#6, `.#, 8, S')(03#, 2#$\#C, 0%, "#$$#%&'())#C, 0%, D'0A#, n.$g, .,
0%, f.$.%3.P, M))#+, :.%3(%o#%, $07$0+0%3#%B., 0%, +'+, .K$#+, '%(A0$+.+, 40/0%(%.+,
:./7)0Z.+C, &'0, +(<'0%, +(0%B., #BA0$+.+, 7#$#, )#+, /'Z0$0+P, L0+B0, )#, 0+3b3(:#, B0),
#$30, 8, )#, 30:%.).<\#C, 0), :.$3., B0, ^::(I%C, 0, (%:)'+., )#, 4.3.<$#4\#C, +'$<0%, %'0A#+,
.K$#+,8,#'3.$#+,&'0,3$#3#%,B0,$07$0+0%3#$,0),:./7)0Z.,'%(A0$+.,B0,)#+,/'Z0$0+,B0,
0+3#,$0<(I%C,70$.,#o%,%.,6#,+'$<(B.,'%#,.K$#,B0,)#$<./03$#Z0,&'0,6#<#,3$#+:0%B0$,
B0),/'+0.,8,)#,:(%0/#30:#,)#+,(/_<0%0+,0/.:(.%#)0+,B0,"#$$#%&'())#,8,0),1#$(K0,
colombiano.
NOTAS
!P, M%,0),#%_)(+(+,B0,).+,0+3'B(.+,+.K$0,:(%0,8,)#,:$\3(:#,:.)./K(#%#C,S#(/0,1.$$0#,=EFFO?,
B0+:#)(^:#, ).+, $0+')3#B.+, B0), 3$#K#Z., B0, J$K.)0B#, 8, k+.$(., 7.$, :.%+(B0$#$)., /_+,
#%0:BI3(:.,8,7.:.,$(<'$.+.,0%,0),#%_)(+(+,:(%0/#3.<$_^:.,=7P,!i?P,9(,K(0%,0+,:(0$3.,&'0,
0),B.:'/0%3.,$0+')3#,'%#,K'0%#,60$$#/(0%3#,B0,:.%+')3#C,0%,:'#%3.,$0A0)#,).+,%./K$0+,
B0,)#+,/'Z0$0+,/_+,(/7.$3#%30+,0%,)#,7$.B'::(I%,B0,:(%0,:.)./K(#%.C,:.(%:(B.,:.%,
1.$$0#,0%,&'0,+',#%_)(+(+,%.,0+3_,(%+:$(3.,B0%3$.,B0,).+,#%_)(+(+,:(%0/#3.<$_^:.C,%(,
/':6.,/0%.+,B0%3$.,B0,)#+,30.$\#+,40/(%(+3#+,&'0,6#%,/#$:#B.,0),B0+#$$.)).,B0,).+,
0+3'B(.+,7$0)(/(%#$0+,+.K$0,0),:(%0,B0,/'Z0$0+P
EP, M%, '%, 0+3'B(., +.K$0, )#, $0A(+3#, 6#783, J%<0)#, 2:, `.KK(0, =!OO ?, B0+3#:#, &'0, )#+,
$0A(+3#+,40/0%(%#+C,0+0%:(#)/0%30,#,^%#)0+,B0,).+,aF,8,B'$#%30,)#,Bb:#B#,B0,).+, FC,
/.)B0#$.%,)#,(/#<0%,B0,'%#,/'Z0$,/_+,+0['#)/0%30,#3$0A(B#C,/'8,+(/()#$,#,)#,/'Z0$,
7.+340/(%(+3#P, 9(%, 0/K#$<.C, 0%, 0+0, /./0%3.C, 0), :./7.$3#/(0%3., 40/0%(%., B0, )#+,
$0A(+3#+,7#$#,:6(:#+,4'0,#+.:(#B.,:.%,'%#,/#%(7')#:(I%,/#+:')(%#C,/_+,&'0,:./.,'%,
:#/K(.,0%,)#,/'Z0$,.,)#,#7$.[(/#:(I%,#,'%#,%'0A#,4.$/#,B0,40/(%(B#BP
3. 9&'%"()'*,0+,'%,<b%0$.,)(30$#$(.,&'0,6#,+(B.,3$#B':(B.,#),0+7#N.),:./.,c)(30$#3'$#,7#$#,
:6(:#+eC,'%#,+0$(0,B0,)(K$.+,3$#B':(B.+,:.%,b[(3.,#),:(%0,8,)#,30)0A(+(I%,:./.,"$(B<03,
Jones (2001,2004), Sex and the City,=!OO mEFFG?,.,L(#$(.,B0,'%#,%(N0$#,=EFFa?P,@%#,
%#$$#3(A#,7$.3#<.%(R#B#,7.$,/'Z0$0+,0%3$0,).+,EF,8,).+,jF,#N.+,:'8#+,7$0.:'7#:(.%0+,
Cervantes - De emociones y realidades. La representación en el cine de la vida íntima de las... (pp.81- 98)
OW
<($#%,0%,3.$%.,#,)#+,:.%3$#B(::(.%0+,B0,A(A($,)#,A(B#,8,0),+0[.,7)0%#/0%30,8,0%:.%3$#$,
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70$4.$/_3(:.C,6#%,B0Z#B.,B0,$040$($+0,o%(:#,8,0[:)'+(A#/0%30,#),'+.,B0,)#,7#)#K$#,&'0,
+0,:.%A(0$30,0%,#::(I%C,30#3$#),.,B$#/_3(:#P,S'B(36,"'3)0$,0/70RI,#,'3()(R#$,0),3b$/(%.,
70$4.$/#%:0,7#$#,6#K)#$,B0,'%,:./7.$3#/(0%3.,+.:(#),#7$0%B(B.,8,70$703'#B.,7.$,
'%#,+.:(0B#B,0/(%0%30/0%30,6030$.+0['#)P
WP, 9'+#%%#6, "$0+)(%C, 0+, '%#, blogger, /'8, (%h'80%30, 0%3$0, )#+, 0+:$(3.$(#+, B0, )#, 9&'%"(
lit #/0$0(:#%#,8,7#$3(:(7#,#:3(A#/0%30,0%,7$./.:(I%,8,:$\3(:#C,B.%B0,B0+/(3(^:#,)#+,
(B0#+,B0),40/(%(+/.,/_+,$0:#):(3$#%30P,M))#,7)#%30#,0%,+'+,0+:$(3.+,)#,0[(+30%:(#,B0,
'%#,0+3b3(:#,7.+340/(%(+3#,&'0,$0(A(%B(:#,0),7.B0$,B0,)#,/'Z0$,#,3$#Ab+,B0),+0[.,8,+0,
#B6(0$0,#,'%,%'0A.,/.A(/(0%3.,+.:(.m:')3'$#),B0%./(%#B.,7.+3m7.$%.P
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folios 24, 2010, Facultad de Comunicaciones, Universidad de Antioquia
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B.++(0$V!E!m(B0%3(B#B0+P63/)C,$0:'70$#B.U,!F,B0,40K$0$.,EF!FP
1.$$0#C,SP,=EFFO?P,cY#,:.%+3(3':(I%,B0),:(%0,:.)./K(#%.,:./.,.KZ03.,B0,0+3'B(.U,0%3$0,
).+, 0+3'B(.+, :(%0/#3.<$_^:.+, 8, ).+, 0+3'B(.+, :')3'$#)0+eC, 0%, Revista de Estudios
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M$$_R'$(RC, 5P, =EFF!?P, cM), $.+3$., +(%(0+3$., B0, )., 4#/()(#$P, 20/.$(#, 8, .)A(B.eC, {0%, )\%0#|,
en Revista Cyber Humanitatis,,`0A(+3#,B0,)#,l#:')3#B,B0,l().+.4\#,8,q'/#%(B#B0+C,
@%(A0$+(B#B,B0,16()0C,%o/P,!OC,B(+7.%(K)0,0%U,,6337UVV;;;EP:8K0$6'/#%(3#3(+P':6()0P
:)V!OV0$$#R'$(RP63/)C,$0:'70$#B.U,!F,B0,40K$0$.,B0,EF!FP
l$0'BP,9P,=!O!O?P,cY.,9(%(0+3$.P,9(</'%B,l$0'BU,kK$#+,:./7)03#+e,{0%,)\%0#|,l$0'B,
3.3#)C, A0$+(I%, 0)0:3$I%(:#, !PFC, B(+7.%(K)0, 0%U, , , 6337UVV;;;P)(K$.+<$#3(+;0KP
:./V63/)V4$0'Bm+(</'%BV).m+(%(0+3$.V(%B0[P63/C,$0:'70$#B.U,!W,B0,40K$0$.,B0,
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q#))C,9P,=MBP?P,=!OOa?P,B&8($#7"(#C(78;78+8!*-*'#!?(D8;78+8!*-*'#!?(9<)*<7-)(D8;78+8!*-*'#!+(
and Signifying Practices.,Y.%B.%P,9#<0U,f60,k70%,@%(A0$+(38P
Y#,:(3#,=EFFG?C,{70)\:')#|C,`.#C,lP,=B($P?C,J)4#K03#,5$.B'::(.%0+,=7$.B+P?P
2#$\#C,SP,=EFFaC,W,B0,/#8.?C,0%3$0A(+3#,A($3'#),:.%,10$A#%30+C,JP,
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A.)P,GC,%o/P,jP
2:`.KK(0C,JP,=!OO ?P,c2.$0zU,D'0A#+,+0['#)(B#B0+,0%,)#+,$0A(+3#+,7#$#,:6(:#+,8,/'Z0$0+C,
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2(3$#%(C,SP,9P,=EFFaC,G,B0,/#8.?C,0%3$0A(+3#,A($3'#),:.%,10$A#%30+C,JP,
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0+70:3_:').P, @%(A0$+(3#3, B0, d#)0%:(#, }, J+.:(#:(I%, d#+:#, B0, 90/(I3(:#P, d#)0%:(#P,
M'3.7\#+P
Cervantes - De emociones y realidades. La representación en el cine de la vida íntima de las... (pp.81- 98)
Oa
D0(/#$gC,SP,=!OOW?P,cQ3*+,/#<(:#)P,Q3*+,/#))0#K)0P,Q3*+PPP,/0/.$8eC Pshycology today,,{0%,
)\%0#|,B(+7.%(K)0,0%U,,6337UVV;;;P7+8:6.).<83.B#8P:./V#$3(:)0+V!OOWF!V(3+m/#<(:#)m
(3+m/#))0#K)0m(3+m/0/.$8C,$0:'70$#B.U, ,B0,0%0$.,B0,EF!FP
Dt36C, -P, =EFF!C, 40K$0$.?P, cY#, #'3.$040$0%:(#)(B#B, 0%, )#, :$(+(+, B0, )#, /.B0$%(B#BeC, 0%,
Cuadernos,,%o/P,!aC,,77PjiWmjiOP,
5#A(+C,5P,=EFF!?P,El Análisis de los Espectáculos: teatro, mimo, danza, cine. Barcelona.
Paidós.
Rita va al supermercado =EFFF?C,{70)\:')#|,2(3$#%(C,SP,=B($?P
`.#C,JP,lP,=EFFaC,j,B0,/#8.?C,0%3$0A(+3#,A($3'#),:.%,10$A#%30+C,JP,
Saldarriaga, A. (2002). La arquitectura como experiencia. Espacio, cuerpo y sensibilidad.
".<.3_P,d())0<#+,MB(3.$0+P,@%(K(K).+C,@%(A0$+(B#B,D#:(.%#)P
90)A#C,2P,8,9.)T,JP,=EFFE?P,El cine de mujeres es el cine. Diez años de la muestra de
A).8+(18(.<E878+? Barcelona. Paidós.
@%g%.;%,=EFF!?C,{70)\:')#|,2#$\#C,SP,=B($?P
.
ENTREVISTAS
"'3)0$C,S'B(36P,M%3$0A(+3#,$0#)(R#B#,7.$,J%#,10:()(#,10$A#%30+P,@%(A0$+(B#B,B0,2'$:(#C,!j,
B0,2#$R.,B0,EFF P
2#$\#C,S')(03#P,M%3$0A(+3#,$0#)(R#B#,7.$,A(B0.m))#/#B#,9g870P,W,B0,2#8.,B0,EFFaP,
2(3$#%(C,S0++(:#,9.4\#P,M%3$0A(+3#,$0#)(R#B#,7.$,A(B0.m))#/#B#,9g870P,G,B0,2#8.,B0,EFFaP,
`.#C,J)#%#,l#$$#6P,M%3$0A(+3#,$0#)(R#B#,7.$,A(B0.m))#/#B#,9g870P,,j,B0,2#8.,B0,EFFaP,
FILMOGRAFÍA
La cita., =EFFG?P, L($0:3.$#U,J)#%#, l#$$#6, `.#P,J)4#K03#, 5$.B'::(.%0+P, Q%3b$7$030+U,J%#,
Nazhari, Maribel Abello y Antonio Di Conzio.
Rita va al supermercado.,=EFFF?P,L($0:3.$#U,S0++(:#,9.4\#,2(3$#%(P`07#$3.U,`(3#,"0%B0:gC,
J)K0$3., d0)())#C, "0#3$(R, 1#/#:6.C, 5#.)#, L#%<.%BC, 2I%(:#, >.%3.A%(:C, d($(B(#%#,
Molinares, Dizzie Trillos. Música: Manu Chau.
!"!#$!? (2001). Directora: Julieta María. Música: Luiggie Nono.
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folios 24, 2010, Facultad de Comunicaciones, Universidad de Antioquia