|Publisher:||Palgrave Macmillan UK|
|Edition description:||1st ed. 2018|
|Product dimensions:||5.83(w) x 8.27(h) x (d)|
About the Author
Inela Selimovićis Assistant Professor of Spanish at Wellesley College, USA.
Table of Contents1. Introduction.- 2.Part IMINORS AND HOMEBOUND VIOLENCE -Retributive Affects in Albertina Carri’sLa rabia(2008).- 3.Affective Otherness in Lucrecia Martel’sLa ciénaga(2001).- 4.Lucía Puenzo’sEl niño pez(2009): Fluid Intimacies, Affective Dwelling.- 5.Part IIREMEDIATIONS AND AFFECT -The Hypermediacy Appeal in Albertina Carri’sLos rubios(2003).- 6.Muted Gestures, Screaming Affects in Lucrecia Martel’sLa mujer sin cabeza(2008).- 7.Ghostly Pasts and Contested Silence in Lucía Puenzo’sWakolda: El médico alemán(2013).- 8.Part IIIBOLD BOREDOMS, LIBIDINOUS AFFECTS -Compulsory Boredom and Cerulean Desires in Lucía Puenzo’sXXY(2007).- 9.Albertina Carri’sGéminis(2005): Leisurely Boredom, Incestuous Discontent.- 10.Lucrecia Martel’sLa niña santa(2004): On Waiting, Monotony, and Agentic Kinesthesis.- 11.Conclusion.
What People are Saying About This
“This book is a much needed and rigorous examination of contemporary Argentine cinema, which focuses on the highly original and controversial films by Lucrecia Martel, Albertina Carri, and Lucía Puenzo. Selimović's solid analyses are based on her remarkable knowledge of feminist theory and thus provide valuable insights about new subjectivities in the twenty-first century.” (Carolina Rocha, Professor of Spanish and Latin American Studies at Southern Illinois University Edwardsville, USA)"Selimović’s monograph is a rich, complex, and groundbreaking study on the tremendous importance of the affective dimension in contemporary Latin American women’s filmmaking. Her research places great emphasis on the role of children in grounding affect in the films she analyses. Children were particularly vulnerable social subjects during the time of the putative Dirty War and the neofascist military dictatorship in Argentina (1976-1983). And children have been the concomitant focus of many educational and social reforms in Argentina subsequent to the military tyranny. Torn often between competing versions of the past, children in Argentina are often forced to resolve historical conflicts their elders not only created, but are themselves powerless to resolve. This dimension provides Selimović's study with a significant basis for viewing the role of affect in the films she examines." (David William Foster, Regents' Professor of Spanish and Women and Gender Studies, Arizona State University, USA)