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En un contexto en el que la violencia LGBTIQ fóbica está en aumento, el cine y las series de televisión que podemos caracterizar como “queer” se presentan como medio idóneo para visibilizar y transformar la realidad de las personas LGBTIQ+ y combatir la queer fobia, especialmente a través de la proliferación de productos comunicativos capaces de llegar a un público más amplio que el que acude a festivales LGBTIQ+ y salas especializadas. En el pasado, la mayor parte de filmes queer circulaban únicamente en festivales de cine nicho, sin proyectarse en salas comerciales o retransmitirse por televisión. Sin embargo, en la actualidad estas películas y ficciones seriadas están ganando espacio tanto en los palmareses de festivales de categoría A como en taquillas y televisiones alrededor del mundo, tal y como demuestra el éxito de películas como Carol (Todd Haynes, 2015), Moonlight (Barry Jenkins, 2016) y Retrato de una mujer en llamas (Céline Sciamma, 2019), o la distribución transnacional de series como Sex Education (Netflix, 2019-2023), Euphoria (2019-), o Heartstopper (Netflix, 2022-). Hoy en día, audiencias que en principio no tienen por qué interesarse por cuestiones sociales relativas a las comunidades LGBTIQ+ a menudo consumen películas y series de televisión que desafían narrativas normativas y cuentan las historias de grupos y personas históricamente marginados o representados de manera negativa en los medios.

En esta tesis doctoral analizamos la representación diferencial de lo queer dentro del Nuevo Cine Argentino dirigido por mujeres. Para ello, hemos seleccionado aquellos filmes en los que se prioriza el punto de vista de adolescentes o niñas queer, se despliegan estrategias propias del cine lento (Flanagan, 2012) y la imagen-tiempo (Deleuze, 1989) y se integra una imaginería en la que la apelación a los sentidos del espectador, la visualidad háptica (Marks, 2000) y el desarrollo de flujos afectivos entre el espectador y la imagen juegan un papel más importante que la dominación panóptica y distanciada que propone el cine de la Mirada (Mulvey, 1975, 1982), movilizando en su lugar una relación encarnada con la textura y la materialidad de la imagen fílmica. En relación a esto, partimos de un entendimiento de las subjetividades queer como posicionadas en oposición a lo normal y lo normativo en lugar de a lo cisheterosexual (Warner, 1993), lo que nos permite abarcar el estudio de deseos y cuerpos construidos como socialmente inaceptables y que no necesariamente encajan en la etiqueta LGBTI, como las pulsiones incestuosas o la sexualidad de los niños protagonistas de los filmes objeto de estudio. La muestra analizada incluye La ciénaga (2001), La niña santa (2004) y La mujer sin cabeza (2008), dirigidas por Lucrecia Martel; XXY (2007) y El niño pez (2009), de Lucía Puenzo; y El último verano de La Boyita (2009), dirigida por Julia Solomonoff. “Deseos perversos, imágenes táctiles y temporalidades queer en el cine de Lucrecia Martel, Julia Solomonoff y Lucía Puenzo” presenta análisis hápticos, temporales y queer de la obra de estas cineastas a fin de revelar yuxtaposiciones en su crítica a la normatividad tanto desde el contenido como a nivel formal; las seis películas seleccionadas subrayan desigualdades sexogenéricas, raciales y/o socioeconómicas que se manifiestan en alteraciones en el lenguaje audiovisual en la temporalidad desplegada y en el desarrollo de vínculos y de, In this thesis we analyze the differential representation of queerness within Women’s New Argentinean Cinema. For this purpose, we have selected those films in which the point of view of queer teenagers is prioritized, films that also integrate strategies typical of slow cinema (Flanagan, 2012), deploy time-images (Deleuze, 1989) and display an audiovisual language whereby tactility, hapticity and sensuality play a more important role than the panoptical domination over the image viewers hold in conventional Hollywood cinema (Mulvey, 1975, 1982), mobilizing instead an embodied relationship with the texture and materiality of the filmic image. In relation to this, we start from an understanding of queer subjectivities as those that are opposed to the normal and the normative rather than the cisheterosexual (Warner, 1993), which allows us to encompass the study of desires and bodies that are constructed as socially unacceptable and that do not necessarily fit the LGBTI label, such as incestuous drives or children sexuality, obliquely represented in the films under study. The sample analyzed includes La ciénaga (2001), La niña santa (2004) and La mujer sin cabeza (2008), directed by Lucrecia Martel; XXY (2007) and El niño pez (2009), by Lucía Puenzo; and El último verano de La Boyita (2009), directed by Julia Solomonoff. "Perverse Desires, Tactile Images and Queer Temporalities in the Films of Lucrecia Martel, Julia Solomonoff and Lucía Puenzo" presents haptic, temporal and queer analyses of their work in order to reveal juxtapositions in their critique of normativity within both the content and the form they utilize; the six selected films highlight sex-gender, racial and/or socioeconomic inequalities that manifest themselves in alterations in formal language, in the temporality deployed, and in the development of bonds and desires on the margins of cisheterosexual norm. Therefore, these films offer possibilities of identification with queer characters that transcend

En esta tesis doctoral analizamos la representación diferencial de lo queer dentro del Nuevo Cine Argentino dirigido por mujeres. Para ello, hemos seleccionado aquellos filmes en los que se prioriza el punto de vista de adolescentes o niñas queer, se despliegan estrategias propias del cine lento (Flanagan, 2012) y la imagen-tiempo (Deleuze, 1989) y se integra una imaginería en la que la apelación a los sentidos del espectador, la visualidad háptica (Marks, 2000) y el desarrollo de flujos afectivos entre el espectador y la imagen juegan un papel más importante que la dominación panóptica y distanciada que propone el cine de la Mirada (Mulvey, 1975, 1982), movilizando en su lugar una relación encarnada con la textura y la materialidad de la imagen fílmica. En relación a esto, partimos de un entendimiento de las subjetividades queer como posicionadas en oposición a lo normal y lo normativo en lugar de a lo cisheterosexual (Warner, 1993), lo que nos permite abarcar el estudio de deseos y cuerpos construidos como socialmente inaceptables y que no necesariamente encajan en la etiqueta LGBTI, como las pulsiones incestuosas o la sexualidad de los niños protagonistas de los filmes objeto de estudio. La muestra analizada incluye La ciénaga (2001), La niña santa (2004) y La mujer sin cabeza (2008), dirigidas por Lucrecia Martel; XXY (2007) y El niño pez (2009), de Lucía Puenzo; y El último verano de La Boyita (2009), dirigida por Julia Solomonoff. “Deseos perversos, imágenes táctiles y temporalidades queer en el cine de Lucrecia Martel, Julia Solomonoff y Lucía Puenzo” presenta análisis hápticos, temporales y queer de la obra de estas cineastas a fin de revelar yuxtaposiciones en su crítica a la normatividad tanto desde el contenido como a nivel formal; las seis películas seleccionadas subrayan desigualdades sexogenéricas, raciales y/o socioeconómicas que se manifiestan en alteraciones en el lenguaje audiovisual en la temporalidad desplegada y en el desarrollo de vínculos y de, In this thesis we analyze the differential representation of queerness within Women’s New Argentinean Cinema. For this purpose, we have selected those films in which the point of view of queer teenagers is prioritized, films that also integrate strategies typical of slow cinema (Flanagan, 2012), deploy time-images (Deleuze, 1989) and display an audiovisual language whereby tactility, hapticity and sensuality play a more important role than the panoptical domination over the image viewers hold in conventional Hollywood cinema (Mulvey, 1975, 1982), mobilizing instead an embodied relationship with the texture and materiality of the filmic image. In relation to this, we start from an understanding of queer subjectivities as those that are opposed to the normal and the normative rather than the cisheterosexual (Warner, 1993), which allows us to encompass the study of desires and bodies that are constructed as socially unacceptable and that do not necessarily fit the LGBTI label, such as incestuous drives or children sexuality, obliquely represented in the films under study. The sample analyzed includes La ciénaga (2001), La niña santa (2004) and La mujer sin cabeza (2008), directed by Lucrecia Martel; XXY (2007) and El niño pez (2009), by Lucía Puenzo; and El último verano de La Boyita (2009), directed by Julia Solomonoff. "Perverse Desires, Tactile Images and Queer Temporalities in the Films of Lucrecia Martel, Julia Solomonoff and Lucía Puenzo" presents haptic, temporal and queer analyses of their work in order to reveal juxtapositions in their critique of normativity within both the content and the form they utilize; the six selected films highlight sex-gender, racial and/or socioeconomic inequalities that manifest themselves in alterations in formal language, in the temporality deployed, and in the development of bonds and desires on the margins of cisheterosexual norm. Therefore, these films offer possibilities of identification with queer characters that transcend

Queer teenagers are avid readers of popular culture; as numerous audience studies prove, television plays a significant role in identity-formation for LGBTIQ+ youth, providing them with the information about sexuality, gender roles or non-normative relationships usually unavailable in their educational and home environments. In this article we analyze how some of the protagonists of Netflix’s TV show Sex Education (2019-present) utilize popular culture as a tool to explore their desires, forbidden fantasies, and gender expressions, becoming instrumental in the formation of their queer identities in a way that metatextually reflects the role LGBTIQ+ shows play for their audiences. Such is the case of Adam, a bisexual teenager that masturbates to the image of a fictional actor featured in a 1980s action film poster; Lily, whose sexual fantasies of role playing with alien creatures are strongly influenced by spatial sci-fi; and Ola, whose onyric universe is influenced by David Bowie’s genderbending aesthetics. However, the most representative example of how popular culture influences the formation of queer identities is Eric, whose non-conforming gender expression follows the example set by the trans characters in Hedwig and the Angry Inch.

In this paper we will analyse how queer gender desires and expressions are cinematically articulated in Lucía Puenzo’s El niño pez. For this purpose, we will study the relationship between Lala (Inés Efrón) and her family's Guaraní domestic servant, Ailín (Mariela Vitale). We will implement a methodological approach anchored in the concepts of haptic visuality (Marks 2002) and interseccionality (Crenshaw 1989). Although El niño pez presents certain identitarian undefinitions linked to queerness, we will demonstrate that the construction of Lala's character points to certain stereotypes related to the filmic representation of lesbianism.

En esta tesis doctoral analizamos la representación diferencial de lo queer dentro del Nuevo Cine Argentino dirigido por mujeres. Para ello, hemos seleccionado aquellos filmes en los que se prioriza el punto de vista de adolescentes o niñas queer, se despliegan estrategias propias del cine lento (Flanagan, 2012) y la imagen-tiempo (Deleuze, 1989) y se integra una imaginería en la que la apelación a los sentidos del espectador, la visualidad háptica (Marks, 2000) y el desarrollo de flujos afectivos entre el espectador y la imagen juegan un papel más importante que la dominación panóptica y distanciada que propone el cine de la Mirada (Mulvey, 1975, 1982), movilizando en su lugar una relación encarnada con la textura y la materialidad de la imagen fílmica. En relación a esto, partimos de un entendimiento de las subjetividades queer como posicionadas en oposición a lo normal y lo normativo en lugar de a lo cisheterosexual (Warner, 1993), lo que nos permite abarcar el estudio de deseos y cuerpos construidos como socialmente inaceptables y que no necesariamente encajan en la etiqueta LGBTI, como las pulsiones incestuosas o la sexualidad de los niños protagonistas de los filmes objeto de estudio. La muestra analizada incluye La ciénaga (2001), La niña santa (2004) y La mujer sin cabeza (2008), dirigidas por Lucrecia Martel; XXY (2007) y El niño pez (2009), de Lucía Puenzo; y El último verano de La Boyita (2009), dirigida por Julia Solomonoff. “Deseos perversos, imágenes táctiles y temporalidades queer en el cine de Lucrecia Martel, Julia Solomonoff y Lucía Puenzo” presenta análisis hápticos, temporales y queer de la obra de estas cineastas a fin de revelar yuxtaposiciones en su crítica a la normatividad tanto desde el contenido como a nivel formal; las seis películas seleccionadas subrayan desigualdades sexogenéricas, raciales y/o socioeconómicas que se manifiestan en alteraciones en el lenguaje audiovisual en la temporalidad desplegada y en el desarrollo de vínculos y de

Dentro del cine latinoamericano cada vez encontramos más filmes que representan la naturaleza invisibilizada, neocolonialista y sexista de uno de los fenómenos más extendidos en el continente: la existencia de servicio doméstico entre las familias blancas de clase alta. Con un enfoque cualitativo que integra como categorías de análisis las características del lenguaje fílmico háptico definido por Laura Marks (2002) y la imagen-tiempo propia del cine lento (Deleuze, 1987) se argumenta la emergencia de un nuevo género cinematográfico en Latinoamérica que sitúa a la figura de la mucama en el centro formal, emocional y narrativo de los filmes (Shaw, 2017), y que cada vez atrae más interés desde los estudios fílmicos. En este sentido, se analizarán dos visiones complementarias pero opuestas de la relación entre el servicio doméstico y las familias latinoamericanas de clase alta: La ciénaga (Martel, 2001), que sitúa a la mucama Isabel (Andrea López) en los márgenes del texto fílmico, ofreciendo una visión crítica de la naturaleza explotadora del servicio doméstico; y Roma (Cuarón, 2018), cuyo enfoque nostálgico sitúa a Cleo (Yalitza Aparicio) en el centro de la narración sin pretender en ningún momento hablar en lugar de su subjetividad subalterna

Queer teenagers are avid readers of popular culture; as numerous audience studies prove, television plays a significant role in identity-formation for LGBTIQ+ youth, providing them with the information about sexuality, gender roles or non-normative relationships usually unavailable in their educational and home environments. In this article we analyze how some of the protagonists of Netflix’s TV show Sex Education (2019-present) utilize popular culture as a tool to explore their desires, forbidden fantasies, and gender expressions, becoming instrumental in the formation of their queer identities in a way that metatextually reflects the role LGBTIQ+ shows play for their audiences. Such is the case of Adam, a bisexual teenager that masturbates to the image of a fictional actor featured in a 1980s action film poster; Lily, whose sexual fantasies of role playing with alien creatures are strongly influenced by spatial sci-fi; and Ola, whose onyric universe is influenced by David Bowie’s genderbending aesthetics. However, the most representative example of how popular culture influences the formation of queer identities is Eric, whose non-conforming gender expression follows the example set by the trans characters in Hedwig and the Angry Inch., Ministerio de Ciencia e Innovación (MICINN), Depto. de Ciencias de la Comunicación Aplicada, Fac. de Ciencias de la Información, TRUE, pub

Queer teenagers are avid readers of popular culture; as numerous audience studies prove, television plays a significant role in identity-formation for LGBTIQ+ youth, providing them with the information about sexuality, gender roles or non-normative relationships usually unavailable in their educational and home environments. In this article we analyze how some of the protagonists of Netflix’s TV show Sex Education (2019-present) utilize popular culture as a tool to explore their desires, forbidden fantasies, and gender expressions, becoming instrumental in the formation of their queer identities in a way that metatextually reflects the role LGBTIQ+ shows play for their audiences. Such is the case of Adam, a bisexual teenager that masturbates to the image of a fictional actor featured in a 1980s action film poster; Lily, whose sexual fantasies of role playing with alien creatures are strongly influenced by spatial sci-fi; and Ola, whose onyric universe is influenced by David Bowie’s genderbending aesthetics. However, the most representative example of how popular culture influences the formation of queer identities is Eric, whose non-conforming gender expression follows the example set by the trans characters in Hedwig and the Angry Inch.

Queer teenagers are avid readers of popular culture; as numerous audience studies prove, television plays a significant role in identity-formation for LGBTIQ+ youth, providing them with the information about sexuality, gender roles or non-normative relationships usually unavailable in their educational and home environments. In this article we analyze how some of the protagonists of Netflix’s TV show Sex Education (2019-present) utilize popular culture as a tool to explore their desires, forbidden fantasies, and gender expressions, becoming instrumental in the formation of their queer identities in a way that metatextually reflects the role LGBTIQ+ shows play for their audiences. Such is the case of Adam, a bisexual teenager that masturbates to the image of a fictional actor featured in a 1980s action film poster; Lily, whose sexual fantasies of role playing with alien creatures are strongly influenced by spatial sci-fi; and Ola, whose onyric universe is influenced by David Bowie’s genderbending aesthetics. However, the most representative example of how popular culture influences the formation of queer identities is Eric, whose non-conforming gender expression follows the example set by the trans characters in Hedwig and the Angry Inch.

Queer teenagers are avid readers of popular culture; as numerous audience studies prove, television plays a significant role in identity-formation for LGBTIQ+ youth, providing them with the information about sexuality, gender roles or non-normative relationships usually unavailable in their educational and home environments. In this article we analyze how some of the protagonists of Netflix’s TV show Sex Education (2019-present) utilize popular culture as a tool to explore their desires, forbidden fantasies, and gender expressions, becoming instrumental in the formation of their queer identities in a way that metatextually reflects the role LGBTIQ+ shows play for their audiences. Such is the case of Adam, a bisexual teenager that masturbates to the image of a fictional actor featured in a 1980s action film poster; Lily, whose sexual fantasies of role playing with alien creatures are strongly influenced by spatial sci-fi; and Ola, whose onyric universe is influenced by David Bowie’s genderbending aesthetics. However, the most representative example of how popular culture influences the formation of queer identities is Eric, whose non-conforming gender expression follows the example set by the trans characters in Hedwig and the Angry Inch.

Queer teenagers are avid readers of popular culture; as numerous audience studies prove, television plays a significant role in identity-formation for LGBTIQ+ youth, providing them with the information about sexuality, gender roles or non-normative relationships usually unavailable in their educational and home environments. In this article we analyze how some of the protagonists of Netflix’s TV show Sex Education (2019-present) utilize popular culture as a tool to explore their desires, forbidden fantasies, and gender expressions, becoming instrumental in the formation of their queer identities in a way that metatextually reflects the role LGBTIQ+ shows play for their audiences. Such is the case of Adam, a bisexual teenager that masturbates to the image of a fictional actor featured in a 1980s action film poster; Lily, whose sexual fantasies of role playing with alien creatures are strongly influenced by spatial sci-fi; and Ola, whose onyric universe is influenced by David Bowie’s genderbending aesthetics. However, the most representative example of how popular culture influences the formation of queer identities is Eric, whose non-conforming gender expression follows the example set by the trans characters in Hedwig and the Angry Inch.

Queer teenagers are avid readers of popular culture; as numerous audience studies prove, television plays a significant role in identity-formation for LGBTIQ+ youth, providing them with the information about sexuality, gender roles or non-normative relationships usually unavailable in their educational and home environments. In this article we analyze how some of the protagonists of Netflix’s TV show Sex Education (2019-present) utilize popular culture as a tool to explore their desires, forbidden fantasies, and gender expressions, becoming instrumental in the formation of their queer identities in a way that metatextually reflects the role LGBTIQ+ shows play for their audiences. Such is the case of Adam, a bisexual teenager that masturbates to the image of a fictional actor featured in a 1980s action film poster; Lily, whose sexual fantasies of role playing with alien creatures are strongly influenced by spatial sci-fi; and Ola, whose onyric universe is influenced by David Bowie’s genderbending aesthetics. However, the most representative example of how popular culture influences the formation of queer identities is Eric, whose non-conforming gender expression follows the example set by the trans characters in Hedwig and the Angry Inch.

Memoria del Proyecto de Innovación Docente Curso 2022021, Ciencias Sociales nº 396

Queer teenagers are avid readers of popular culture; as numerous audience studies prove, television plays a significant role in identity-formation for LGBTIQ+ youth, providing them with the information about sexuality, gender roles or non-normative relationships usually unavailable in their educational and home environments. In this article we analyze how some of the protagonists of Netflix’s TV show Sex Education (2019-present) utilize popular culture as a tool to explore their desires, forbidden fantasies, and gender expressions, becoming instrumental in the formation of their queer identities in a way that metatextually reflects the role LGBTIQ+ shows play for their audiences. Such is the case of Adam, a bisexual teenager that masturbates to the image of a fictional actor featured in a 1980s action film poster; Lily, whose sexual fantasies of role playing with alien creatures are strongly influenced by spatial sci-fi; and Ola, whose onyric universe is influenced by David Bowie’s genderbending aesthetics. However, the most representative example of how popular culture influences the formation of queer identities is Eric, whose non-conforming gender expression follows the example set by the trans characters in Hedwig and the Angry Inch.

Queer teenagers are avid readers of popular culture; as numerous audience studies prove, television plays a significant role in identity-formation for LGBTIQ+ youth, providing them with the information about sexuality, gender roles or non-normative relationships usually unavailable in their educational and home environments. In this article we analyze how some of the protagonists of Netflix’s TV show Sex Education (2019-present) utilize popular culture as a tool to explore their desires, forbidden fantasies, and gender expressions, becoming instrumental in the formation of their queer identities in a way that metatextually reflects the role LGBTIQ+ shows play for their audiences. Such is the case of Adam, a bisexual teenager that masturbates to the image of a fictional actor featured in a 1980s action film poster; Lily, whose sexual fantasies of role playing with alien creatures are strongly influenced by spatial sci-fi; and Ola, whose onyric universe is influenced by David Bowie’s genderbending aesthetics. However, the most representative example of how popular culture influences the formation of queer identities is Eric, whose non-conforming gender expression follows the example set by the trans characters in Hedwig and the Angry Inch.

Queer teenagers are avid readers of popular culture; as numerous audience studies prove, television plays a significant role in identity-formation for LGBTIQ+ youth, providing them with the information about sexuality, gender roles or non-normative relationships usually unavailable in their educational and home environments. In this article we analyze how some of the protagonists of Netflix’s TV show Sex Education (2019-present) utilize popular culture as a tool to explore their desires, forbidden fantasies, and gender expressions, becoming instrumental in the formation of their queer identities in a way that metatextually reflects the role LGBTIQ+ shows play for their audiences. Such is the case of Adam, a bisexual teenager that masturbates to the image of a fictional actor featured in a 1980s action film poster; Lily, whose sexual fantasies of role playing with alien creatures are strongly influenced by spatial sci-fi; and Ola, whose onyric universe is influenced by David Bowie’s genderbending aesthetics. However, the most representative example of how popular culture influences the formation of queer identities is Eric, whose non-conforming gender expression follows the example set by the trans characters in Hedwig and the Angry Inch.

Queer teenagers are avid readers of popular culture; as numerous audience studies prove, television plays a significant role in identity-formation for LGBTIQ+ youth, providing them with the information about sexuality, gender roles or non-normative relationships usually unavailable in their educational and home environments. In this article we analyze how some of the protagonists of Netflix’s TV show Sex Education (2019-present) utilize popular culture as a tool to explore their desires, forbidden fantasies, and gender expressions, becoming instrumental in the formation of their queer identities in a way that metatextually reflects the role LGBTIQ+ shows play for their audiences. Such is the case of Adam, a bisexual teenager that masturbates to the image of a fictional actor featured in a 1980s action film poster; Lily, whose sexual fantasies of role playing with alien creatures are strongly influenced by spatial sci-fi; and Ola, whose onyric universe is influenced by David Bowie’s genderbending aesthetics. However, the most representative example of how popular culture influences the formation of queer identities is Eric, whose non-conforming gender expression follows the example set by the trans characters in Hedwig and the Angry Inch.

Queer teenagers are avid readers of popular culture; as numerous audience studies prove, television plays a significant role in identity-formation for LGBTIQ+ youth, providing them with the information about sexuality, gender roles or non-normative relationships usually unavailable in their educational and home environments. In this article we analyze how some of the protagonists of Netflix’s TV show Sex Education (2019-present) utilize popular culture as a tool to explore their desires, forbidden fantasies, and gender expressions, becoming instrumental in the formation of their queer identities in a way that metatextually reflects the role LGBTIQ+ shows play for their audiences. Such is the case of Adam, a bisexual teenager that masturbates to the image of a fictional actor featured in a 1980s action film poster; Lily, whose sexual fantasies of role playing with alien creatures are strongly influenced by spatial sci-fi; and Ola, whose onyric universe is influenced by David Bowie’s genderbending aesthetics. However, the most representative example of how popular culture influences the formation of queer identities is Eric, whose non-conforming gender expression follows the example set by the trans characters in Hedwig and the Angry Inch.

Memoria del Proyecto de Innovación Docente Curso 2022021, Ciencias Sociales nº 396

Queer teenagers are avid readers of popular culture; as numerous audience studies prove, television plays a significant role in identity-formation for LGBTIQ+ youth, providing them with the information about sexuality, gender roles or non-normative relationships usually unavailable in their educational and home environments. In this article we analyze how some of the protagonists of Netflix’s TV show Sex Education (2019-present) utilize popular culture as a tool to explore their desires, forbidden fantasies, and gender expressions, becoming instrumental in the formation of their queer identities in a way that metatextually reflects the role LGBTIQ+ shows play for their audiences. Such is the case of Adam, a bisexual teenager that masturbates to the image of a fictional actor featured in a 1980s action film poster; Lily, whose sexual fantasies of role playing with alien creatures are strongly influenced by spatial sci-fi; and Ola, whose onyric universe is influenced by David Bowie’s genderbending aesthetics. However, the most representative example of how popular culture influences the formation of queer identities is Eric, whose non-conforming gender expression follows the example set by the trans characters in Hedwig and the Angry Inch.

Seven years ago, James MacDowell (2010) detected a new aesthetic and narrative sensitivity pertaining to American independent cinema, characterized by a balance between ironic distance and emotional sincerity. Since the publication of McDowell’s article, the word quirky became quickly associated with the works of directors such as Jim Jarmusch, Wes Anderson or Michel Gondry, turning into a catchphrase that has been used to describe every film protagonized by eccentric characters, utilizing a perfectionist visual language, and endowed with a certain naïveté in the tone and treatment of pathetic situations. These productions appeal to the sentimentality of a millennial audience that is no longer as cynical or politically engaged as their predecessors; in fact, the narrative and formal transgressions that are typical of quirky productions tend to stay on the surface, never questioning issues of gender, race, or class. In this sense, the Manic Pixie Dream Girl stereotype constitutes a perfect example of the quirky aesthetics; its ambivalent relationship with postfeminist ideologies, incorporating a neoliberal sexual freedom to a traditional performance of femininity becomes a sign of identity rather than a political stance, while the stereotype’s childish look and naive attitude respond to the exaltation of ingenuity that happens in quirky. On the other hand, the fact that typical Manic Pixie Dream Girls such as Summer ([500] Days of Summer) or Ruby Sparks are more defined in terms of their cultural preferences and outfits than by their fears or ambitions also aligns with the postmodern prevalence of the form that characterizes quirky productions., Han pasado ya siete años desde que en 2010 James MacDowell detectara una nueva sensibilidad estética y narrativa dentro del cine independiente estadounidense, caracterizada por el equilibrio tonal entre el distanciamiento irónico y la sinceridad emocional. Desde entonces, la palabra quirky (peculiar en inglés) se ha asociado a las producciones de directores como Jim Jarmusch, Wes Anderson, o Michel Gondry, convirtiéndose en un adjetivo comodín aplicado a cualquier película protagonizada por personajes excéntricos, dotada de un lenguaje visual perfeccionista, y con una cierta ingenuidad infantil en el tono y en el trato de las situaciones. Estas producciones apelan a la sentimentalidad de un espectador millennial que ya no es tan cínico ni tan comprometido políticamente como sus antecesores; de hecho, las transgresiones narrativas y formales que caracterizan lo quirky nunca llegan al terreno de lo político para plantearse cuestiones de género, raza, o clase, sino que se quedan en la superficie. En este sentido, el estereotipo de la Manic Pixie Dream Girl es perfecto exponente de esta estética de lo peculiar; su ambivalente relación con las ideologías postfeministas (sexualidad neoliberal vs feminidad tradicional) es más una seña de identidad que fruto de un compromiso político, mientras que su aspecto aniñado y su actitud naïve responden a esa ingenuidad buscada de la sensibilidad quirky. Asimismo, la falta de profundidad de Manic Pixie Dream Girls paradigmáticas como Summer (500 días juntos) o Ruby Sparks, definidas más por sus gustos musicales o su manera de vestir que por sus ambiciones o miedos responde al predominio postmoderno de la forma que caracteriza la estética quirky.