<em>Un oso rojo</em>: el género y su parodia
Keywords:
Latin American Cultural Studies, Caetano, Aregentine New Cinema, Latin American FilmAbstract
De los numerosísimos trabajos dedicados al estudio de Un oso rojo (2002), de Israel Adrián Caetano, ninguno considera como tema central del análisis los vínculos de la película con Tumberos, estrenada ese mismo año y dirigida también por Caetano. Este es un punto crucial por la continuidad de las dos narraciones y porque ambas retratan un estado de descomposición del Estado. En función de esta situación, el presente trabajo estudia los puntos de contacto del film con la serie televisiva, un aspecto hasta aquí descuidado por completo en la crítica del film y que solamente algunos pocos trabajos mencionan de manera episódica (Schwarzböck, Estudio crítico). Partimos de la hipótesis de que estas dos producciones audiovisuales se complementan en la historia narrada y en la visión del mundo que ofrecen, ya que la serie televisiva puede ser vista como la narración de aquello que la película confina al ámbito de la elipsis, la estancia del héroe en la cárcel. A partir de esta hipótesis, centramos nuestro análisis en los vínculos del film con los géneros (genre) cinematográficos y con las construcciones genéricas (gender).
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