She’s gotta habit
In 2017, the audiovisual content platform Netflix presents She’s Gotta Have It, a story based on the Spike Lee film filmed in 1986, both of them share the name and the director. We will work some questions of the first season that consists of ten chapters, of approximately thirty minutes each, with...
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| Format: | Online |
| Language: | spa |
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Centro de Investigaciones y Estudios sobre Cultura y Sociedad
2019
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| Online Access: | https://revistas.unc.edu.ar/index.php/eticaycine/article/view/26802 |
| _version_ | 1811172822866722816 |
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| author | Benchimol, Lucía |
| author_facet | Benchimol, Lucía |
| author_sort | Benchimol, Lucía |
| collection | Portal de Revistas |
| description | In 2017, the audiovisual content platform Netflix presents She’s Gotta Have It, a story based on the Spike Lee film filmed in 1986, both of them share the name and the director. We will work some questions of the first season that consists of ten chapters, of approximately thirty minutes each, with an adapted script. Nola Darling returns; black woman, activist and artist who lives in Booklyn, and finds herself permanently searching her own identity. In this journey, her aspiration in the profession and the events that name her as a woman coincide. Nola resists all alienation to a name, and it is sustained by multiplying the others that it invents. This solution is not enough when it comes to addressing the real traumatic event. Thedirector shows us the contrast between a neighborhood full of identity references, with its images, its films, its discs and a woman who idealizes the feminine black form, to the point that whenever something represents it, it is not. In the Rashomon (Jingo, 1950) mode everyone looks at it from a perspective, but there is no finished form. Nola knows that there Woman does not exist, but believes in her and creates a way to make her exist, without naming her, without being her. |
| format | Online |
| id | oai:ojs.revistas.unc.edu.ar:article-26802 |
| institution | Universidad Nacional de Cordoba |
| language | spa |
| publishDate | 2019 |
| publisher | Centro de Investigaciones y Estudios sobre Cultura y Sociedad |
| record_format | ojs |
| spelling | oai:ojs.revistas.unc.edu.ar:article-268022020-02-05T21:10:54Z She’s gotta habit She’s gotta habit Benchimol, Lucía Identity Brooklyn Lee Body African American Psychoanalysis Identidad Brooklyn Lee Cuerpo Afroamericano Psicoanálisis In 2017, the audiovisual content platform Netflix presents She’s Gotta Have It, a story based on the Spike Lee film filmed in 1986, both of them share the name and the director. We will work some questions of the first season that consists of ten chapters, of approximately thirty minutes each, with an adapted script. Nola Darling returns; black woman, activist and artist who lives in Booklyn, and finds herself permanently searching her own identity. In this journey, her aspiration in the profession and the events that name her as a woman coincide. Nola resists all alienation to a name, and it is sustained by multiplying the others that it invents. This solution is not enough when it comes to addressing the real traumatic event. Thedirector shows us the contrast between a neighborhood full of identity references, with its images, its films, its discs and a woman who idealizes the feminine black form, to the point that whenever something represents it, it is not. In the Rashomon (Jingo, 1950) mode everyone looks at it from a perspective, but there is no finished form. Nola knows that there Woman does not exist, but believes in her and creates a way to make her exist, without naming her, without being her. En el 2017 la plataforma de contenido audio visual Netflix presenta She’s Gotta Have It, serie que se basa en la película de Spike Lee filmó en 1986, con la que comparten el nombre y el director. Trabajaremos algunas cuestiones de la primera temporada que consta de diez capítulos, de treinta minutos aproximadamente cada uno, con un guión adaptado. Vuelve Nola Darling, mujer negra activista y artista que vive en Booklyn, y encuentra en permanentemente búsqueda de su propia identidad. En este recorrido coinciden su aspiración en la profesión y los acontecimientos que la nombran como mujer. Nola resiste toda alienación a un nombre, y se sostiene a partir de multiplicar las otras que inventa. Esta solución no alcanza cuando se trata de abordar lo real del acontecimiento traumático. El director nos muestra el contraste entre un barrio colmado de referencias identitarias, con sus imágenes, sus películas, sus discos y una mujer que idealiza la forma negra femenina, al punto de que cada vez que algo la representa no es. Al modo Rashomon (Jingo, 1950) cada quien la mira desde una perspectiva, pero no hay una forma acabada. Nola sabe que no hay La Mujer, pero cree en ella y crea un modo de hacerla existir, sin nombrarla, sin serla. Centro de Investigaciones y Estudios sobre Cultura y Sociedad 2019-12-09 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://revistas.unc.edu.ar/index.php/eticaycine/article/view/26802 10.31056/2250.5415.v9.n3.26802 Ética y Cine Journal; Vol. 9 Núm. 3 (2019): Pibas. Movimientos, identidades, posiciones; 21-24 2250-5415 2250-5660 10.31056/2250.5415.v9.n3 spa https://revistas.unc.edu.ar/index.php/eticaycine/article/view/26802/28454 Derechos de autor 2019 Ética y Cine Journal |
| spellingShingle | Identity Brooklyn Lee Body African American Psychoanalysis Identidad Brooklyn Lee Cuerpo Afroamericano Psicoanálisis Benchimol, Lucía She’s gotta habit |
| title | She’s gotta habit |
| title_alt | She’s gotta habit |
| title_full | She’s gotta habit |
| title_fullStr | She’s gotta habit |
| title_full_unstemmed | She’s gotta habit |
| title_short | She’s gotta habit |
| title_sort | she s gotta habit |
| topic | Identity Brooklyn Lee Body African American Psychoanalysis Identidad Brooklyn Lee Cuerpo Afroamericano Psicoanálisis |
| topic_facet | Identity Brooklyn Lee Body African American Psychoanalysis Identidad Brooklyn Lee Cuerpo Afroamericano Psicoanálisis |
| url | https://revistas.unc.edu.ar/index.php/eticaycine/article/view/26802 |
| work_keys_str_mv | AT benchimollucia shesgottahabit |