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	<title>Knowledge Commons | Karla Adriana Bessa | Activity</title>
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	<description>Activity feed for Karla Adriana Bessa.</description>
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				<title>Karla Adriana Bessa deposited “How I became what I am”: an aesthetics of twist cinema in films from the 1960s and 1970s in the group Red de Investigación Mujeres en el Cine Latinoamericano</title>
				<link>https://hcommons.org/activity/p/1727408/</link>
				<pubDate>Sat, 13 Feb 2021 02:23:41 -0500</pubDate>

									<content:encoded><![CDATA[<p>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&hellip;<span class="activity-read-more" id="activity-read-more-1727408"><a href="https://hcommons.org/activity/p/1727408/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Karla Adriana Bessa deposited Luz(es) del Fuego: rebeldia e feminismos in the group Red de Investigación Mujeres en el Cine Latinoamericano</title>
				<link>https://hcommons.org/activity/p/1727407/</link>
				<pubDate>Sat, 13 Feb 2021 02:23:38 -0500</pubDate>

									<content:encoded><![CDATA[<p>The article presents a reading of the film Luz Del Fuego (1982), by David Neves, taking a critical feminist approach, which links historical and film analysis. It discusses the historicity of Luz Del Fuego's transgressive practices (both person and character) from distinct points of view produced about her and by her own book. The article&hellip;<span class="activity-read-more" id="activity-read-more-1727407"><a href="https://hcommons.org/activity/p/1727407/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Karla Adriana Bessa deposited “How I became what I am”: an aesthetics of twist cinema in films from the 1960s and 1970s</title>
				<link>https://hcommons.org/activity/p/1726918/</link>
				<pubDate>Tue, 09 Feb 2021 19:53:31 -0500</pubDate>

									<content:encoded><![CDATA[<p>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&hellip;<span class="activity-read-more" id="activity-read-more-1726918"><a href="https://hcommons.org/activity/p/1726918/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Karla Adriana Bessa deposited Luz(es) del Fuego: rebeldia e feminismos</title>
				<link>https://hcommons.org/activity/p/1726914/</link>
				<pubDate>Tue, 09 Feb 2021 19:36:03 -0500</pubDate>

									<content:encoded><![CDATA[<p>The article presents a reading of the film Luz Del Fuego (1982), by David Neves, taking a critical feminist approach, which links historical and film analysis. It discusses the historicity of Luz Del Fuego's transgressive practices (both person and character) from distinct points of view produced about her and by her own book. The article&hellip;<span class="activity-read-more" id="activity-read-more-1726914"><a href="https://hcommons.org/activity/p/1726914/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Karla Adriana Bessa&#039;s profile was updated</title>
				<link>https://hcommons.org/activity/p/1680359/</link>
				<pubDate>Mon, 09 Mar 2020 17:30:46 -0400</pubDate>

				
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