Filming in the feminine
Subjective realism, social disintegration and bodily affection in Lucrecia Martel’s La ciénaga (2001)
in Hispanic and Lusophone women filmmakers
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Lucrecia Martel's La ciénaga represents family and social disintegration, which is caused in part by the failure of communication or emotional dysfunction and annihilation, in the context of the decadent world of the traditional rural Argentine society, through the use of what could be defined as a subjective realistic cinematic style. By establishing a connection, or by working at the intersection, between Martel's cinematic practice and Bracha Ettinger's groundbreaking theoretical propositions, this chapter explores how La ciénaga offers a representational and critical alternative to an orthodox feminist political project, which remains confined to the subject of women's rights, bodies, histories and oppressions, in the form of an identity-based representational mode of politics. Martel's cinematic style produces bodily sensations that may be divorced from any referents, thereby affecting our senses and forcing us to react to the film on a corporeal, bodily, perceptual and affective level.

Hispanic and Lusophone women filmmakers

Theory, practice and difference

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