Genealogies of the self
(Auto)biography in Sandra Kogut’s Um Passaporte Húngaro (2001) and Albertina Carri’s Los rubios (2003)
in Hispanic and Lusophone women filmmakers
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Genealogy is most commonly represented through the family tree, as patrilineal and heteronormative understandings of the family unit create a body armoured with patriarchal notions of bloodline, inheritance and property. This discussion of genealogy finds a renewed relevance to contemporary developments in subjective and autobiographical filmmaking, particularly concerning those films which excavate family history at the intersection of private and public realms. This chapter discusses two films, Sandra Kogut's Um Passaporte Hungaro and Albertina Carri's Los rubios, which amply demonstrate family history need not be a linear, essentialising gesture in search of a pure origin. Rather, Um Passaporte Hungaro and Los rubios from Brazil and Argentina respectively, experiment with autobiography in order to discuss identity, memory and history, thus bringing Michel Foucault's genealogical model to fruition with remarkable effect. In demystifying the notion of foundational origins, Kogut and Carri challenge the law of the father which propels classical genealogical quests.

Hispanic and Lusophone women filmmakers

Theory, practice and difference


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