Pink Flamingos and the abject. Between Parodic Performativity and Pastiche

Abstract

The abject has traversed aesthetic experimentation during the last century, seeking to make visible the fissures in the normative-disciplinary constitution of the modern subject. In this sense, the film Pink Flamingos by John Waters and particularly the drag figure of Divine, are paradigmatic axes to understand the abject as a performative parody exercise in terms proposed by the queer philosopher Judith Butler. This means placing it in the context of the countercultural experiences that emerged in the heart of the disciplinary models crisis during the '60s and '70s. From this, the article analyzes the neutralization effects on the transgressive aesthetic during the subsequent rearticulation of capitalism after the disciplinary models crisis, trying to understand the passage from parody to pastiche.