Highlights contemporary Argentine women filmmakers' appeals to affect

Points out how the presence of affect complicates emotional bonding or empathic relations in the films of Lucrecia Martel, Albertina Carri, and Lucía Puenzo Conceptualizes "affective moments" to highlight subtle tensions between affect and basic emotions, thus spotlighting these filmmakers' negotiations of the social

Autorentext

Inela Selimovi is Assistant Professor of Spanish at Wellesley College, USA.

Klappentext
This book studies the intimate tensions between affect and emotions as terrains of sociopolitical significance in the cinema of Lucrecia Martel, Albertina Carri, and Lucía Puenzo. Such tensions, Selimovi argues, result in affective moments that relate to the films' core arguments. They also signal these filmmakers' novel insights on complex manifestations of memory, desire, and violence. The chapters explore how the presence of pronouncedbut reticentaffect complicates emotional bonding in the everydayness depicted in these films. By bringing out moments of affect in these filmmakers' diegetic worlds, this book traces the ways in which subtle foci on gender, class, race, and sexuality correlate in these Argentine women's films.

Inhalt

1. Introduction.- 2. Part I MINORS AND HOMEBOUND VIOLENCE - Retributive Affects in Albertina Carri's La rabia (2008).- 3. Affective Otherness in Lucrecia Martel's La ciénaga (2001).- 4. Lucía Puenzo's El niño pez (2009): Fluid Intimacies, Affective Dwelling.- 5. Part II REMEDIATIONS AND AFFECT - The Hypermediacy Appeal in Albertina Carri's Los rubios (2003).- 6. Muted Gestures, Screaming Affects in Lucrecia Martel's La mujer sin cabeza (2008).- 7. Ghostly Pasts and Contested Silence in Lucía Puenzo'sWakolda: El médico alemán (2013).- 8. Part III BOLD BOREDOMS, LIBIDINOUS AFFECTS - Compulsory Boredom and Cerulean Desires in Lucía Puenzo's XXY (2007).- 9. Albertina Carri's Géminis(2005): Leisurely Boredom, Incestuous Discontent.- 10. Lucrecia Martel's La niña santa (2004): On Waiting, Monotony, and Agentic Kinesthesis.- 11. Conclusion.