“How I became what I am”: an aesthetics of twist cinema in films from the 1960s and 1970s

Karla Adriana Martins Bessa Adriana Martins Bessa


The article analyzes the political and theoretical potential of cinematographic language
to express and rebuild the relationship between sexual and gender differences. As cultural
products, the three films analyzed - A Casa Assassinada (1972), Sunday, bloody Sunday (1971) and
Les Amities Particulières (1964) - allude to feminist issues of the time, as well as instigating a reading
of gender beyond the narratives, by historicizing the visibility of the female body, heteronormativity,
and the subversiveness of forbidden loves as represented through the films’ structure. The text
argues, from a queer perspective, that the aesthetic nature of twist cinema, within the limits of
each style and period, was precisely the boldness to run risks in its visual grammar, not making
political concessions in challenging the moral canons of current society


feminism; queer cinema; films studies; twist cinema

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Rev. Estud. Fem., ISSN 1806-9584, Florianópolis, Brasil.