La mujer sin cabeza: aesthetic and political flows in Argentine Cinema
DOI:
https://doi.org/10.11606/issn.2316-7114.sig.2021.178321Keywords:
Flow cinema aesthetics, Nuevo Cine Argentino, Lucrecia Martel, La mujer sin cabezaAbstract
The essay, situated within the scope of contemporary cinema studies, discusses questions concerning the flow aesthetics taken as it is presented in the film La mujer sin cabeza (2008), by Lucrecia Martel. To this end, it discusses and analyzes the strategies adopted for framing the post-dictatorship neoliberal Argentina’s sociopolitical context, verifies the effects of meaning produced by the homologations between the plane of film contents the plane of cinematographic expression, and deals with the consequent aesthetic/aisthesic articulations. Considering cinema as a privileged field of the symptom of the society in which it is chronotopically inserted, it is concluded that Martel’s movie, by focusing on small aspects of everyday life and its sensory modulations, enlightens the emergence of a supposedly innovative cinema: a Nuevo Cine Argentino that both makes it possible to detect social distress and asphyxiation, and potentially provides for revisions of preestablished paradigms and concepts.
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References
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Referências filmográficas
LA CIÉNAGA. Lucrecia Martel, Argentina, 2001.
LA MUJER sin cabeza. Lucrecia Martel, Argentina, 2008.
LEONERA. Pablo Trapero, Argentina, 2008.
PIZZA, birra, faso. Adrián Caetano e Bruno Stagnaro, Argentina, 1998.
RAPADO. Martín Retjman, Argentina, 1992.
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Copyright (c) 2021 Sandra Fischer, Natália Lago Adams, Aline Vaz
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