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.

Orientador: Antônio Fernando da Conceição Passos / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-19T06:44:53Z (GMT). No. of bitstreams: 1 Barrenha_NataliaChristofoletti_M.pdf: 1204741 bytes, checksum: 1826123bc7cb568b652caf7a72b426b2 (MD5) Previous issue date: 2011 / Resumo: Nesta pesquisa, abordamos a obra da cineasta argentina Lucrecia Martel, entrelaçando sua trajetória como cineasta e suas opções estéticas, além de procurarmos nos aproximar da compreensão de seu processo criativo. Entre as singularidades mais notáveis da obra de Lucrecia encontra-se o uso que ela faz do som, responsável por estabelecer atmosferas que acabam por guiar os filmes - muito mais que suas próprias tramas. Assim, o som ganhará destaque nessa abordagem, conduzindo as análises dos três longas da cineasta - O Pântano (2001), A Menina Santa (2004) e A Mulher Sem Cabeça (2008) / Abstract: In this research, we approach the work of the Argentine filmmaker Lucrecia Martel, going through her career as a filmmaker and her aesthetics choices, and seeking to bring us closer to understanding her creative process. The sound is one of the striking peculiarities of Lucrecia's work, because it creates atmospheres that guide the movies much more than their own narratives. Thus, the sound will lead us in the analysis of the three films of the filmmaker -The swamp (2001), The holy girl (2004) and The headless woman (2008) / Mestrado / Multimeios / Mestre em Multimeios

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal. / Pour respecter les droits d'auteur, la version électronique de cette thèse ou ce mémoire a été dépouillée, le cas échéant, de ses documents visuels et audio-visuels. La version intégrale de la thèse ou du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.

A presente pesquisa é fruto da observação de uma tendência recorrente nas cinematografias brasileira e argentina nos primeiro 16 anos do século XXI, qual seja, um estilo que deriva da combinação de princípios de uma estética realista com elementos característicos do horror. Gostaríamos de sugerir que essa mistura criativa de processos de linguagem, tradicionalmente díspares, cria uma atmosfera sensória de tensões e suspenses que se liga com aspectos psicológicos e subjetivos de um momento histórico particular ao Brasil e à Argentina. Isso ocorre principalmente em obras que, dentro desta tendência, expressam o tensionamento de diferentes segmentos sociais e se inspiram em um estilo vinculado ao imaginário gótico. A fim de demarcar essa atmosfera de medo em filmes realistas brasileiros e argentinos, realizaremos uma análise dos motivos temáticos, das ambiências e estados climáticos nos longas-metragens O som ao redor (Kleber Mendonça Filho, 2013) e Bem perto de Buenos Aires (Historia del Miedo, Benjamín Naishtat, 2014). / The present research is the result of the observation of a recurring tendency in Brazilian and Argentinean cinematography in the first 16 years of the 21st century, that is, a style that derives from the combination of elements of a realistic aesthetic with characteristic horror elements. We would like to suggest that this creative blend of traditionally disparate language processes creates a sensory atmosphere of tensions and suspensions that is linked with psychological and subjective aspects of a particular historical moment in Brazil and Argentina. This occurs mainly in works that, within this tendency, express a tension of different social segments and are inspired by a style linked to the Gothic imaginary. Through the analysis of thematic motifs, ambiences and climatic states, the research will draw a comparison between the films O Som ao Redor (Kleber Mendonça Filho, 2013) e Bem perto de Buenos Aires (Historia del Miedo, Benjamín Naishtat, 2014).

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal / Pour respecter les droits d'auteur, la version électronique de cette thèse ou ce mémoire a été dépouillée, le cas échéant, de ses documents visuels et audio-visuels. La version intégrale de la thèse ou du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.

Orientador: José Alves de Freitas Neto / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-17T03:34:33Z (GMT). No. of bitstreams: 1 Juz_BrenodeSouza_M.pdf: 1163692 bytes, checksum: 6c0b8fbf38ea1c317a16fc9a53be04d2 (MD5) Previous issue date: 2010 / Resumo: No final dos anos 1990 e início do século XXI, o cinema argentino viveu uma vigorosa retomada na produção nacional com o surgimento de novos realizadores, conquistando diversos prêmios em festivais e ampla repercussão internacional. Este cinema atraiu o interesse da crítica e do público devido a uma série de fatores, entre os quais cabe destacar uma exemplar e instigante renovação da linguagem. A isso se soma a viabilização de produção independente calcada no baixo orçamento. A retomada da produção vivida pelo cinema argentino na virada de século XXI foi simultânea à crise social, econômica e institucional ocorrida a partir de dezembro de 2001. Este fato potencializou as significações do nuevo cine argentino devido à capacidade de diálogo que certas obras apresentaram em relação ao momento histórico vivido pelo país. Este trabalho tem como objetivo analisar, a partir de obras referenciais, as representações da Argentina no cinema argentino contemporâneo, investigando quais as estruturas narrativas e estilos cinematográficos foram utilizados na construção dessas obras e da crise por elas representadas. Busca-se também perceber os sujeitos, tramas, relações com os espaços e instituições escolhidos no constructo da Argentina contemporânea e sua crise. Com isso, é possível analisar a historicidade dessa cinematografia, e os desdobramentos implicados nas representações construídas pela escrita cinematográfica / Abstract: In the late 1990s and early twenty-first century, the Argentine cinema has experienced a vigorous recovery in its national production in which there was the emergence of new filmmakers who won several awards at festivals and got a wide world repercussions and notoriety. This cinema has attracted the interest from critics and audiences for a variety of factors, among which we highlight an exemplary and exciting renewal of its language. In addition, the viability of independent production grounded on low costs. This resumption of production experienced by the Argentine cinema at the turn of the century was simultaneously a social, economic and institutional crisis occurred in December 2001. This fact has enhanced the meanings of Argentine nuevo cine because of the capacity of dialoguing that certain works presented in relation to the historical moment experienced by the country. Thus, this dissertation aims to analyze, using reference works, the representations of contemporary Argentine cinema in Argentina, investigating which narrative structures and cinematographic styles were used in the construction of these works and the crisis that they represent. The aim is also to understand the subjects, plots, spaces and relations with the institutions selected in the construct of contemporary Argentina and its crisis. Thus, it is possible to analyze the historicity of this cinema, and the ramifications involved in the representations constructed by cinematographic writing / Mestrado / Historia Cultural / Mestre em História

Le cinéma de l'Argentine, le Chili et la Colombie entre 1990 et 2005 a dû faire face à divers changements liés aux modèles politique, économique et culturel. En particulier, les lois relatives à la production du cinéma ont changées dans les années ci-dessous, ce qui a permet de configurer un cinéma hétérogène par rapport aux thèmes et moyens de raconter. Dans cette thèse, nous nous proposons d’étudier un phénomène particulier situé temporellement dans un moment de transition et envisagé à travers un corpus clairement sélectionné. Le dit phénomène se présente à travers la relation que le cinéma entretient avec la réalité, relation qui, à cette époque, se caractérise par une grande ambigüité. Il s’agit principalement d’un élargissement des frontières de classifications des productions en vertu de sa relation avec la réalité qui, traditionnellement fut séparée en deux grands groupes définis comme fiction et non fiction. Pour cette raison, nous avons développés un cadre théorique autour du réalisme comme une catégorie d'analyse du corpus. Aussi, nous avons fait une analyse basée sur les approches des Études Culturelles d'Amérique Latine, l’Analyse Critique du Discours et l'Analyse de Cinéma. Notre travail a été de systématiser et de mettre en relation les processus qui ont permis la consolidation du cinéma contemporain d'Amérique Latine. Également, nous avons confirmés le besoin de contextualiser et de nourrir l'analyse de film avec la connaissance de l'histoire sociale, politique et économique comme une condition pour 'interpréter et analyser le récit de l'Amérique Latine. / Argentine, Chilean and Colombian Cinema of the period between1990-2005 had to face several changes related to political, economic and cultural models. In particular, laws related to film production changed over the years, allowing the configuration of a heterogeneous cinematography regarding its topics and ways of narrating. The main problem of this research is studying the relationship between cinema and reality and how the strategies of construction of fiction and nonfiction narratives are put into tension during the period above mentioned. For this reason, we developed a theoretical framework around the realism as a category to get an approach to the corpus. Additionally, we carried out an analysis of our corpus based on the Latin American Cultural Studies, Critical Discourse Analysis and Film Analysis approaches. We systematized and correlated the processes that have allowed contemporary Latin American films to consolidate as a reference. In this project, we have been able to confirm the need to contextualize and nourish film analysis using knowledge of the social, political and economic history as a condition to interpret and study Latin American Narratives.