ABSTRACT

This essay problematises transnational receptions of Sebastián Lelio’s Oscar-winning film Una mujer fantástica (A Fantastic Woman, 2017). Identifying a tendency to universalise and neutralise the experiences of Lelio’s trans protagonist Marina (Daniela Vega) in international reviews, the authors offer a reconsideration of the film as part of a larger body of work which they term trans necronarratives. The first part of the essay resituates the film within the longer history of trans representations in Chile. Coining the idea of the trans necronarrative, the second section elaborates on the foregrounding of death and mourning as central to the constitution of trans subjectivity. The third part considers the film’s final celebration of trans vitality in light of non-reproductivity and queer kinship formation. In the concluding section, the authors argue that the selective visibility that Una mujer fantástica brings to a white, middle-class, individualised trans subject partly explains its international success.

摘要

这篇文章对塞巴斯蒂安·莱里奥（SebastiánLelio）的奥斯卡获奖电影《无情的女人》（Ua mujerfantástica）（A Fantastic Woman，2017）的跨国接待提出了质疑。作者确定了在国际评论中莱里奥的跨性别主角玛丽娜（丹妮拉·维加（Daniela Vega））的经历趋于普遍和中和的趋势，作者对这部电影进行了重新思考，将其视为更大的作品的一部分，他们称之为跨性别叙事。本文的第一部分将影片重新定位在智利的跨性别代表制的悠久历史中。跨性别叙事的想法第二部分详细阐述了死亡和哀悼的前景，这是超主体性构成的核心。第三部分根据非生殖力和酷儿血统的形成来考虑电影对跨生命力的最终庆祝。在最后的部分中，作者认为，《乌纳·范塔斯提卡》带给白人，中产阶级，个性化跨性别者的选择性可见性在一定程度上解释了其国际成功。