International Cinema and the Girl
International Cinema and the Girl
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国际电影与女孩
DOI：
10.1057/9781137388926_5
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发表时间：
2016
期刊：
影响因子：
--
通讯作者：
Martin D
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文献类型：
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作者：
Martin D
本章考虑了阿根廷著名导演卢克雷西亚·马特尔的电影中的少女时代，认为少女时代对他们的政治和美学项目至关重要。它探讨了当地扩散的女孩形象，随后在马特尔的有影响力的处女作La Ciénaga/沼泽（2001年），并指出他们的一些全球共鸣。虽然马特尔已经被视为实验主义和美学打破与以前的阿根廷电影制作，在20世纪90年代末和21世纪初被称为“新阿根廷电影”的关键球员，但也必须描绘她的作品与其他最近的阿根廷女性电影制片人之间存在的对应关系经常被排除在这个佳能之外。正如Jens Andermann所说：“今天，超越一个”独立的“世代项目的不确定界限是有意义的，这个项目在许多方面都是一个批判性的虚构。这种批评性的叙述错过了阿根廷电影制作的更广泛，更矛盾和多层次的景观。1我认为，马特尔的工作也发挥了至关重要的作用，在一个新的女权主义和酷儿电影在阿根廷的发展，由女性电影制片人，并特别关注周围的年轻人物和女孩的数字。如果新阿根廷电影已被定性为产生和回应美学和主题深刻的政治和经济动荡，自阿根廷政治的“进步转向”以来，与性别和性行为有关的法律日益自由化，反过来又伴随着一系列对性别和性行为的惊人挑战，
This chapter considers girlhood in the films of acclaimed Argentine director Lucrecia Martel, arguing for its central importance to their political and aesthetic project. It explores the local proliferation of girl-images which followed in the wake of Martel’s influential débutLa Ciénaga/The Swamp(2001), and indicates some of their global resonances. Whilst Martel has come to be seen as a crucial player in the experimental-ism and aesthetic break with previous Argentine filmmaking that, in the late 1990s and early 2000s came to be known by the label “New Argentine Cinema,” it is also vital to delineate the correspondences that exist between her work and that of other recent Argentine women filmmakers frequently excluded from this canon. As Jens Andermann suggests: “[I]t makes sense today to look beyond the uncertain boundaries of an ‘independent’ generational project, which has been in many ways a critical fiction […]. [W]hat this critical narrative missed was the wider, more contradictory and multi-layered landscape of film-making in Argentina.”1I argue that Martel’s work has also played a crucial role in the development of a new feminist and queer cinema in Argentina, made by women filmmakers and focused in particular around young characters and girl-figures.If the New Argentine Cinema has been characterized as arising from and responding aesthetically and thematically to profound political and economic upheaval, the increased liberalization of the law in relation to gender and sexuality since the “progressive turn” in Argentine politics has, in turn, been accompanied by a striking set of cinematic challenges to gender and