Detalhes do Documento

El análisis del antihéroe en medios visuales es largo y prolífico, sin embargo, no se ha realizado hasta ahora un estudio para el caso uruguayo. Tomando como base la discusión en torno a ese concepto complejo, se repasan aquí las principales características del antihéroe en tiempos postheroicos. Para profundizar en el cine uruguayo se eligieron cuatro películas de épocas diferentes: Detective a contramano (1949), La historia casi verdadera de Pepita la Pistolera (1993), Miss Tacuarembó (2010) y Así habló el cambista (2019). Asimismo, se emplea como hipótesis la ausencia de grandes héroes en el cine nacional y, por el contrario, la presencia de personajes antiheroicos que caen habitualmente en el error, el delito o el fracaso. De ese modo, se esgrimen las diferentes maneras en las que la figura del antihéroe se ha manifestado en la ficción cinematográfica uruguaya.

The analysis of the antihero in visual media is long and prolific; however, no study has yet been conducted in Uruguay. Taking the discussion surrounding this complex concept as a basis, this paper reviews the main characteristics of the antihero in post-heroic times. To delve deeper into Uruguayan cinema, four films from different eras were chosen: The Detective Goes the Wrong Way (1949), Pepita the Holster (1993), Miss Tacuarembó (2010), and The Moneychanger (2019). The hypothesis used is the absence of great heroes in Uruguayan cinema and the presence of antiheroic characters who routinely fall into error, crime, or failure. Thus, the different ways in which the figure of the antihero has manifested itself in Uruguayan cinema are discussed here.

The analysis of the antihero in visual media is long and prolific; however, no study has yet been conducted in Uruguay. Taking the discussion surrounding this complex concept as a basis, this paper reviews the main characteristics of the antihero in post-heroic times. To delve deeper into Uruguayan cinema, four films from different eras were chosen: The Detective Goes the Wrong Way (1949), Pepita the Holster (1993), Miss Tacuarembó (2010), and The Moneychanger (2019). The hypothesis used is the absence of great heroes in Uruguayan cinema and the presence of antiheroic characters who routinely fall into error, crime, or failure. Thus, the different ways in which the figure of the antihero has manifested itself in Uruguayan cinema are discussed here.

The analysis of the antihero in visual media is long and prolific; however, no study has yet been conducted in Uruguay. Taking the discussion surrounding this complex concept as a basis, this paper reviews the main characteristics of the antihero in post-heroic times. To delve deeper into Uruguayan cinema, four films from different eras were chosen: The Detective Goes the Wrong Way (1949), Pepita the Holster (1993), Miss Tacuarembó (2010), and The Moneychanger (2019). The hypothesis used is the absence of great heroes in Uruguayan cinema and the presence of antiheroic characters who routinely fall into error, crime, or failure. Thus, the different ways in which the figure of the antihero has manifested itself in Uruguayan cinema are discussed here.