Pseudo-intertextualidade: e a história, não é uma construção?

Abstract

This essay analyzes, among other issues and more specifically, "Watermelon Woman", a film by Cheryl Dunye, trying to contextualize it within the scenery of American Cultural Studies as innovator and transgressor in techniques as well as in aesthetics. Dunye proposes a series of reflections about themes as lesbianism and racism, implying her aesthetic concepts to question issues that go beyond social or political realms. The film provoked the most varied reactions at US Congress and won the "Teddy Bear" in the Berlin Festival. Stating that "we have to build our own history", Dunye defies the already thin limits between fiction and non-fiction, using metalinguistic devices to deal with gender and race while proposing a new perspective on film approaches in the interactive process of constructing the historical past and inventing a story