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Este artículo examina el cortometraje Loxoro (2011) de la cineasta Claudia Llosa. La cinta centra su atención en una realidad que usualmente no sólo se encuentra invisibilizada, sino que, además, está estigmatizada negativamente. Para ello, aborda la historia Makuti, una madre adoptiva ‘trans’ que deambula por la noche en una busca desesperada de su hija Mía, también ‘trans’, que desde hace algunos días está desaparecida. Desde un punto de vista lingüístico, se explora la construcción de un nuevo campo semántico a través del empleo del lóxoro, una práctica lingüística cifrada empleada por la comunidad ‘trans’ afincada en los márgenes de Lima.
This article examines the short film Loxoro (2011) by filmaker Claudia Llosa. The film focuses on a reality that is not only often rendered invisible, but also negatively stigmatized. to carry out it, analyzed the story of makuti, a ‘trans’ adoptive mother who wanders through the night in a desperate search from her daughter Mía, also ‘trans’, who has been missing for a several days. From a linguistic perspective, the film explores the construction of a new semantic field through the use of lóxoro, an encrypted linguistic practice employed by the ‘trans’ community living on the margins of Lima.
This article examines the short film Loxoro(2011) by filmaker Claudia Llosa. The film focuses on a reality that is not only often rendered invisible, but also negatively stigmatized.to carry out it, analyzed the story of makuti, a ‘trans’ adoptive mother who wanders through the night in a desperate search from her daughter Mía, also ‘trans’, who has been missing for a several days. From a linguistic perspective, the film explores the construction of a new semantic field through the use of Lóxoro, an encrypted linguistic practice employed by the ‘trans’ community living on the margins of Lima.
