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Affective moments in the films of Martel, Carri, and Puenzo

Record Type:	Language materials, printed : Monograph/item
Title/Author:	Affective moments in the films of Martel, Carri, and Puenzo/ by Inela Selimovic.
Author:	Selimovic, Inela.
Published:	London :Palgrave Macmillan UK : : 2018.,
Description:	x, 263 p. :ill., digital ; : 24 cm.;
Contained By:	Springer eBooks
Subject:	Motion picture authorship - Criticism and interpretation. -
Online resource:	http://dx.doi.org/10.1057/978-1-137-49642-3
ISBN:	9781137496423

Affective moments in the films of Martel, Carri, and Puenzo
Selimovic, Inela.

Affective moments in the films of Martel, Carri, and Puenzo[electronic resource] /by Inela Selimovic. - London :Palgrave Macmillan UK :2018. - x, 263 p. :ill., digital ;24 cm.

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 cienaga (2001) -- 4. Lucia Puenzo's El nino 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 Lucia Puenzo's Wakolda: El medico aleman (2013) -- 8. Part III BOLD BOREDOMS, LIBIDINOUS AFFECTS - Compulsory Boredom and Cerulean Desires in Lucia Puenzo's XXY (2007) -- 9. Albertina Carri's Geminis (2005): Leisurely Boredom, Incestuous Discontent -- 10. Lucrecia Martel's La nina santa (2004): On Waiting, Monotony, and Agentic Kinesthesis -- 11. Conclusion.

This book studies the intimate tensions between affect and emotions as terrains of sociopolitical significance in the cinema of Lucrecia Martel, Albertina Carri, and Lucia Puenzo. Such tensions, Selimovic 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 pronounced-but reticent-affect 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.

ISBN: 9781137496423

Standard No.: 10.1057/978-1-137-49642-3doiSubjects--Personal Names:

1202644
Martel, Lucrecia,
1966---Criticism and interpretation.Subjects--Topical Terms:

1202647
Motion picture authorship
--Criticism and interpretation.

LC Class. No.: PN1996 / .S455 2018

Dewey Class. No.: 808.23

Affective moments in the films of Martel, Carri, and Puenzo
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505 0 $a 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 cienaga (2001) -- 4. Lucia Puenzo's El nino 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 Lucia Puenzo's Wakolda: El medico aleman (2013) -- 8. Part III BOLD BOREDOMS, LIBIDINOUS AFFECTS - Compulsory Boredom and Cerulean Desires in Lucia Puenzo's XXY (2007) -- 9. Albertina Carri's Geminis (2005): Leisurely Boredom, Incestuous Discontent -- 10. Lucrecia Martel's La nina santa (2004): On Waiting, Monotony, and Agentic Kinesthesis -- 11. Conclusion.
520 $a This book studies the intimate tensions between affect and emotions as terrains of sociopolitical significance in the cinema of Lucrecia Martel, Albertina Carri, and Lucia Puenzo. Such tensions, Selimovic 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 pronounced-but reticent-affect 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.
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