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- W4285215611 abstract "This chapter examines the evolution of Argentinian cinema in the second half of the twentieth century and locates Lucrecia Martel among filmmakers who gave it a new direction at the turn of the twenty-first century. The characteristics of New Argentine Cinema, which includes Martel’s cinema, are delineated to show the changes in the cinematic themes and stylistic approaches since the years of the Dirty War—a traumatic period in the country’s recent history. Martel’s oeuvre is sparse, but she has received national and international accolades for every film that she has made. The chapter concentrates on her Salta trilogy, providing justifications for viewing it as a transnational, collective bildungsroman. In addition, the chapter selects the pool for spatial analysis as it is featured prominently in all three films of the trilogy. Viewed through the spatial gynocritic models, the pool emerges as a de-settling element that unravels racial and familial hierarchies in The Swamp; in The Holy Girl, Martel uses it to present a de-canonized view of the home-nation; and in The Headless Woman, the pool becomes a site for de-bordering the perceived safety of the city and the threats from nearby slums." @default.
- W4285215611 created "2022-07-14" @default.
- W4285215611 creator A5073855354 @default.
- W4285215611 date "2022-01-01" @default.
- W4285215611 modified "2023-09-26" @default.
- W4285215611 title "Lucrecia Martel’s Transnational Cinema" @default.
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- W4285215611 doi "https://doi.org/10.1007/978-981-19-1426-3_8" @default.
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