Keywords
dialogismo
heterotopía
espacio off
lesbianismo
How to Cite
Abstract
Por medio de las simetrías y paralelismos, el voice-over y la represión del amor lésbico, Ilona llega con la lluvia (1996), del director colombiano Sergio Cabrera, enfatiza los procesos dialógicos de representación de la protagonista. Aunque el filme consigue destrirla en vez de retratar su éxito para auto-representarse como agente, las instancias en las que Ilona manifiesta su creatividad y aquéllas en las que construye una comunidad de intereses con Larissa, la otra mujer importante en la trama, dan cabida a la negociación estratégica con las técnicas de representación para crear tiempos-espacios alternos y resquebrajar las limitaciones temáticas del filme.Cuadernos de Literatura is registered under a Creative Commons Attribution 4.0 International Public License. Thus, this work may be reproduced, distributed, and publicly shared in digital format, as long as the names of the authors and Pontificia Universidad Javeriana are acknowledged. Others are allowed to quote, adapt, transform, auto-archive, republish, and create based on this material, for any purpose (even commercial ones), provided the authorship is duly acknowledged, a link to the original work is provided, and it is specified if changes have been made. Pontificia Universidad Javeriana does not hold the rights of published works and the authors are solely responsible for the contents of their works; they keep the moral, intellectual, privacy, and publicity rights.
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