Naslov
Narrating Trauma in Latin American Women's Cinema

Autori
Županović, Mario

Vrsta, podvrsta i kategorija rada
Sažeci sa skupova, sažetak, znanstveni

Izvornik
Narratology and Its Discontents: Narrating beyond Narration / - , 2017

Skup
Narratology and Its Discontents: Narrating beyond Narration

Mjesto i datum
Zagreb, Hrvatska, 06.04.2017. - 08.04.2017

Vrsta sudjelovanja
Predavanje

Vrsta recenzije
Međunarodna recenzija

Ključne riječi
trauma, iconography, women’s cinema, Peru, paternalistic

Sažetak
The paper deals with the topic of trauma and violence narrated through the films of so called Latin American Women’s Cinema that emerged in the 60’s of the 20th century and especially at the turn of the 21st century. The authors that will be discussed are: Lucia Murat from Brazil, Marta Rodriguez from Colombia, Claudia Llosa from Peru and Lucrecia Martel from Argentina. Starting with Rodriguez’s film The Brickmakers from 1972 the emergence of women’s activist cinema dealing with trauma entered into the public domain. The violence and trauma of the political victim is further elaborated in Lucia Murat’s How Nice to See You Alive from 1989 wherein the prison torture and its aftermath is narrated through nameless women. Family violence and the trauma produced in paternalistic system is the kernel of visual expose in Lucrecia Martel’s Dead King from 1995. Finally the culturally and incestuously induced trauma is narrated in Claudia Llosa’s films Madeinusa from 2006 and The Milk of Sorrow from 2009. Although these films are contrasting in the terms of the genre, production, screenwriting and the different national background, they share a unique women’s approach to the subject of the female trauma and the violence aimed at the female constituency. The paper aims at the analysis of the trauma and the violence from the perspective of visual anthropology and the iconography of the narration. That means that symbols and artifacts of the oppression and trauma are located and analyzed through their visual and symbolic potential and connected with their narrative output. For example, the potato that the protagonist of The Milk of Sorrow Fausta puts into her vagina is a symbol of her virginity, a tool to fight the possible rape/torture but also the barrier from the paternalistic exploitation of the female. On the other hand in Murat’s How Nice to See You Alive the narrative is achieved not by storytelling, plot or auteur vision but rather by multitude of trauma and violence related soliloquies of different women. What has become evident throughout the analysis is a striking prevalence of iconographic and visual-anthropologic mediated contents that overcomes the importance of textual and story based narrative. The aforementioned women directors thus created an overtly different poetic and visual concept of narrating the trauma and violence especially in comparison with highly political, ideological and revolutionary agenda of the male directors on the subject (Rocha in Brazil, Duran in Colombia, Solanas in Argentina and Lombardi in Peru).

Izvorni jezik
Engleski

Znanstvena područja
Znanost o umjetnosti

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