{"id":62,"date":"2015-05-04T10:21:11","date_gmt":"2015-05-04T10:21:11","guid":{"rendered":"http:\/\/reframe.sussex.ac.uk\/cds\/?page_id=62"},"modified":"2015-05-04T10:48:56","modified_gmt":"2015-05-04T10:48:56","slug":"lucrecia-martel","status":"publish","type":"page","link":"https:\/\/reframe.sussex.ac.uk\/cds\/lucrecia-martel\/","title":{"rendered":"Lucrecia Martel"},"content":{"rendered":"
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People in my films always act as if nothing bad is happening. There is fakery all the time. My films are political in this sense: to make a film is to share the doubt about reality<\/b>. <\/span><\/p>\n

[Lucrecia Martel<\/a>, interviewed by Demetrios Matheou, “Vanishing Point”, Sight and Sound<\/i>, 20:3, March 2010, pp. 28-32, 32 (our emphasis<\/i>).]<\/span><\/p>\n<\/blockquote>\n

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Martel used shallow depth-of-field<\/a>, or compression, in her previous films to bring her central characters, members of Argentina\u2019s bourgeoisie, into relief against their surroundings and the huddled bodies that crowded around them. In The Headless Woman<\/i><\/a>, her use of compression is even more purposeful.\u00a0 It illustrates [the main character’s] \u201cseparation from reality\u201d […]. The plane of focus remains on her because that separation is<\/i> part of the subject of the film.<\/b><\/span><\/div>\n<\/div>\n<\/blockquote>\n
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[<\/span>Michael S. Smith<\/a>, ‘Lucrecia Martel’s Immersive Cinema’, Filmwell, July 31, 2009 (our emphasis<\/i>)]<\/span><\/p>\n<\/blockquote>\n<\/div>\n

Argentine director Lucrecia Martel<\/a>‘s first three feature-length films (La ci\u00e9naga<\/a>\/The Swamp [2001], La ni\u00f1a santa<\/a>\/The Holy Girl [2004], and La mujer sin cabeza<\/a>\/The Headless Woman [2008]) have each made an extraordinary international impact.<\/p>\n

Emerging from the aesthetic and discursive framework of the so-called ‘New Argentine Cinema<\/a>‘, these elliptical narratives all take the same, very local, focus, each of them located in Salta, the northern province of Argentina where Martel grew up. As well as their dark figurations of family, class, national, sexual and racial tensions, they share a caustic humour, a riveting sense of the absurd, and a rich intertextuality with other films and literary texts.<\/p>\n

This symposium, hosted by the Centre for Visual Fields<\/a> (School of English) and the School of Media, Film and Music<\/a>, University of Sussex, will reflect on what we fervently hope is merely the first decade of Lucrecia Martel’s feature-filmmaking career. The invited speakers, from the fields of Argentine and Latin American studies, social and critical theory, and film and visual studies, will explore this director’s work using a number of different ‘planes of focus<\/a>‘, to correspond with some of those discernible in Martel’s work: the local, the transnational, the political, the cultural, the historical, the memorial, the hauntological, the affective, the sexual, the real, the aesthetic and the intertextual.<\/p>\n

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Symposium Schedule <\/em><\/div>\n
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12-12.45: LUNCH AND WELCOME <\/strong><\/p>\n

12.45-2.30: SESSION 1<\/strong><\/div>\n