During the past decade, Lucrecia Martel has emerged as the most respected filmmaker from South America. This thesis is motivated by my conviction that Martel's films are worthy of serious engagement and critical scrutiny. It is also motivated by my curiosity about the seemingly inexhaustible pleasure and edification I derive from them. Martel describes her filmmaking as "cine de autor" (auteur cinema). Indeed, her films evidence a personal involvement in every aspect of filmmaking. This thesis will define and explore the characteristics and conditions of her authorship. This thesis constitutes an expression of the enduring usefulness of auteurist criticism. In this case, this critical approach is entirely appropriate and likely to yield the deepest insights into the films. The introduction to my thesis provides pertinent biographical information and the necessary socio-cultural context to set the stage for an intellectual immersion into her three features to date: The Swamp (2001), The Holy Girl (2004) and The Headless Woman (2008). I propose that these films constitute a trilogy that distills Martel's experience of growing up in the remote province of Salta and critiques the social and cultural forces at play in provincial Latin American life. However, no matter how specific the sense of place the films convey and how grounded they are in subjective experience, they illuminate universal aspects of being a person in the world and contain progressive prescriptions for living from which anyone can benefit. My research into the literature on the films of Lucrecia Martel failed to find any serious and thorough appraisal of Lucrecia Martelâ??s films as a trilogy. While my analysis benefits from familiarity with the available literature, the operative critical approach privileges my direct experience with the audiovisual material provided by the films. Each film will be subjected to a close reading illustrated with images from it. These readings focus sharply on certain sequences I deem crucial to the conveyance of characterization, meaning and ideology. These readings aim to think with the films rather than think against or about them. They explore the themes and issues that arise within the narratives of the films as well as the formal means by which they do.

Peruvian auteur cinema has faced problems of distribution and cinematographic exhibition in the windows of massive scope. Most of the exhibition windows have been monopolized by big Hollywood productions. Currently, the mandatory confinement due to COVID-19 has accelerated and materialized a digital transformation process that was under development. That is why the main objective of the research seeks to analyze how the digital transformation in the distribution and exhibition channels contributes to Peruvian auteur cinema. In order to carry out this objective, an interpretative research was conducted with a qualitative data methodology. The selected categories were: auteur cinema, digital transformation and distribution and exhibition channels. Semi-structured interviews were conducted with specialists in marketing and film production. In conclusion, from the perspective of the specialists, it is indicated that such transformation allows opening markets and serving audiences that were historically neglected before. Finally, there was a lack of specialization in the different areas of distribution and audience development, demonstrating the importance of the participation of professionals specialized in marketing to lead these processes. © 2022, The Author(s), under exclusive license to Springer Nature Singapore Pte Ltd.

Внимание в данной исследовательской работе акцентируется на механизме проникновения средств, используемых в живописи, в художественную ткань современного кинематографа путем их адаптации к визуальной форме, которую принимает тот или иной киноматериал. Кроме того, на первый план выносится проблема интерпретации творчества ряда художников XVI-XIX веков (Питер Брейгель Старший, Микеланджело Меризи да Караваджо, Рембрандт Харменсван Рейн, Франсиско де Гойя, Винсент Ван Гог) режиссерами, работающими в разных кинематографических жанрах и направлениях, которые автор разделяет на три условные группы: фильмы-биографии, повествующие о судьбах знаменитых живописцев, авторское кино и артхаус.В связи с общемировой тенденцией синтеза искусств значимость работы состоит в определенном вкладе в решение актуального вопроса о роли вдохновленных живописью художественных приемов и средств в киноискусстве. Практическое значение диссертации обусловлено возможностью применения результатов исследования в дальнейшем изучении как широкого спектра художественных возможностей киноискусства в целом, так и взаимопроникновения языков кино и живописи в частности. / Attention in this research focuses on the mechanism of penetration of pictorial tools in the artistic basis of modern cinema by adapting them to the visual form which film material takes. In addition, special accent is put to the problem of interpreting the creation of several artists of the XVI-XIX centuries (such as Peter Brueghel the Elder, Michelangelo Merisi da Caravaggio, Rembrandt Harmens van Rijn, Francisco de Goya, Vincent van Gogh) by directors working in different cinematographic genres and directions. The author dividesthe empirical research base into three conditional groups: films-biographies narrating about the fates of famous painters, auteur cinema and arthouse cinema. The significance of the research consists in a definite contribution to the solution of the actual question of the role of artistic techniques and means that inspired by painting in filmmaking. The results of the research can be useful in the further study of both a wide range of artistic possibilities of cinematography in general, and interpenetration between languages of cinema and painting in particular.

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