Power(s) in question in the Salta Trilogy by Lucrecia Martel
An intersectional reading
Bibliographic Data
| ID | 21724839 |
|---|---|
| Authors | Verónica Ada Abrego (0000-0001-8292-2612, Martin Luther University Halle-Wittenberg, corresponding author), Verónica Abrego (Martin Luther University Halle-Wittenberg) |
| Year | 2021 |
| Volume | 21 |
| Issue | 2 |
| Pages | 237-261 |
| Publication date | 2021-06-01 |
| Open Access | No |
| Type | ARTICLE |
| Venue | Journal of Romance Studies (JOURNAL) |
| Journal identifiers | ISSN: 1473-3536 • E-ISSN: 1752-2331 |
| Publisher | Liverpool University Press (PUBLISHER • GB) |
| DOI | 10.3828/jrs.2021.13 |
| OpenAlex | W3173747437 |
| Language | EN |
| References cited | 13 |
This article discusses the political and social awareness present in Lucrecia Martel’s Salta Trilogy by applying the concept of intersectionality as an analytical tool. The Trilogy includes the director’s first three arthouse films La ciénaga [The Swamp] (2001), La niña santa [The Holy Girl] (2004) and La mujer sin cabeza [The Headless Woman] (2008). These have more in common than just the setting: they all focus on the micro-politics of interpersonal relations in Salta society as seen from the sharp scalpel of the child’s gaze. From there, intersectional analysis (in the crossing of origin and ‘race’, along the axes of racialized class and of religion and class, as well as in the crossing of origin, religion and age) allows us to unravel how the director challenges reality’s legitimacy by audiovisual means
Art · Art history · Humanities · Intersectionality · Literature · Political science · Politics · Romance · Sociology · Swamp · Trilogy · Gender Studies · Gender, Feminism, and Media · History · Latin American and Latino Studies · Latin American Literature Studies · Law
| Highly cited | No |
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