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Introduction

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Affective Moments in the Films of Martel, Carri, and Puenzo

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Abstract

Argentine women filmmakers have made significant contributions to the film industry since the mid-1990s. Despite the fortified and professionalized bond between women and cinema in Argentina, academic research still continues to be patchy. This book fills in parts of such lacunae, as it draws more nuanced attention to the place of affect in the films of Argentina’s most prominent, prolific, and internationally reputable women directors. In a recent and illuminating piece, film scholar B. Ruby Rich reaffirms the need for deepening scholarly “conversations” about Latin American women directors’ prolific work. Women directors and producers, explains Rich, have engendered “a new expanded Latin American cinema shaped by female experiences—and reconfigured to give as much importance to the home as to the street and as much attention to the subtle signifiers of lives lived under the surface as to the headline-making gestures in the public sphere.” Affective Moments in the Films of Martel, Carri, and Puenzo adds to this conversation—without sealing off categorically these cinematographic works under “women’s cinema” in an outmodedly essentialist spirit—by examining these filmmakers’ appeals to affect. While each of these filmmakers has individually received scholarly attention to different degrees, Albertina Carri, Lucrecia Martel, and Lucía Puenzo have not been juxtaposed in relation to each other regarding the manifestation of affect, especially as it serves as their shared aesthetic denominator for capturing the social.

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Notes

  1. 1.

    Critics have associated many of them with the New Argentine Cinema (NAC) . Much has been written about the NAC and its sociopolitical commitments at the outset of the new millennium. See Eduardo “Quintin” Antin, “De una generación a otra: ¿hay una línea divisoria?,” in El nuevo cine argentino. Temas, autores y estilos de una renovación, eds., Horacio Bernades, Diego Lerer, and Sergio Wolf (Buenos Aires: Fipresci, 2002), 114; Joanna Page, Crisis and Capitalism in Contemporary Argentine Cinema (Durham: Duke University Press, 2009), 2; Gonzalo Aguilar, Otros mundos: un ensayo sobre el nuevo cine argentino (Buenos Aires: Santiago Arcos, 2006), 8; Jens Andermann, New Argentine Cinema (London: I.B. Tauris, 2012), xii; In Crisis and Capitalism, Page underscores the paradoxically nutritive links between the country’s poverty and the NAC’s initial aesthetic accomplishments. While in agreement with Quintin, Page affirms that economic difficulties resulted in making “virtue out of economic necessity” and engendering the foundations of contemporary Argentine cinema (2).

  2. 2.

    Several contemporary critics on Latin American, Spanish, and Portuguese women’s filmmaking, whose works will be engaged in more detail throughout this introduction, have underscored this scarcity, including B. Ruby Rich , “Preface: Performing the Impossible in Plain Sight,” in Latin American Women Filmmakers: Production, Politics, Poetics, eds., Deborah Martin and Deborah Shaw (London: I. B. Tauris, 2017), xv-xx; Elissa Rashkin, Women Filmmakers in Mexico: The Country of Which We Dream(Austin: University of Texas Press, 2001); Lúcia Nagib , Brazil on Screen: Cinema Novo, New Cinema and Utopia (London: I.B. Tauris, 2007); María Claudia André and Viviana Rangil, eds. El cine argentino de hoy: entre el arte y la política(Buenos Aires: Biblos, 2007); Leslie Marsh, Brazilian Women’s Filmmaking: From Dictatorship to Democracy(Urbana: University of Illinois Press, 2012); Parvati Nair and Julián Daniel Gutiérrez-Albilla , eds., Hispanic and Lusophone Women Filmmakers: Theory, Practice and Difference(Manchester: Manchester University Press, 2013); Paulina Bettendorff and Agustina Pérez Rial , eds., Tránsitos de la mirada: mujeres que hacen cine(Buenos Aires: Libraria, 2014); Deborah Martin, The Cinema of Lucrecia Martel (Manchester: Manchester University Press, 2016); Deborah Martin and Deborah Shaw , eds., Latin American Women Filmmakers: Production, Politics, Poetics (London: I. B. Tauris, 2017); and Traci Roberts-Camps, Latin American Women Filmmakers: Social and Cultural Perspectives (Albuquerque: University of New Mexico Press, 2017), to mention the most relevant ones.

  3. 3.

    Rich, “Preface,” xix.

  4. 4.

    See Ann Kaplan, “Women, Film, Resistance: Changing Paradigms,” in Women Filmmakers: Refocusing, eds., Jacqueline Levitin, Judith Plessis, and Valerie Raoul (New York: Routledge, 2003). According to Kaplan, “now it is clear that being ‘female’ or ‘male’ does not signify any necessary social stance vis-à-vis dominant cultural attitudes. We have learned that biological women are not necessarily more progressive or forward-looking than are biological men, and the terms ‘male’ and ‘female’ do not automatically link biological sex to masculine or feminine behaviors or to certain film genres. We are now wary of essentializing gender in this fashion. Male directors have produced empathetic melodramas about male suffering, working from women’s fiction. Some male directors are able to penetrate deeply into the female point of view, as is illustrated in my Motherhood and Representation (1992) volume. … Meanwhile, female directors may make male action films or films about the military. The point is that Western culture has constructed active and passive ‘positions’ for ‘male’ and ‘female.’ But people can take up cultural/psychic places that differ from the ones officially assigned to their sex, and it is this fact that makes it possible to envision progressive social change where gender is concerned” (25).

  5. 5.

    See Endnote 2 of this introduction.

  6. 6.

    Rich, “Preface,” xv–xx.

  7. 7.

    All translations from Spanish into English are mine throughout this study unless otherwise indicated.

  8. 8.

    See B. R. Rich, “An/Other View of the New Latin American Cinema,” in New Latin American Cinema, Vol. 1: Theory, Practices and Transcontinental Articulations, ed. Michael T. Martin (Detroit: Wayne State University Press, 1997), 284; Page, Crisis, 193; Teresa de Lauretis, The Practice of Love: Lesbian Sexuality and Perverse Desire (Bloomington: Indiana University Press, 1994), 297.

  9. 9.

    See David Oubiña, Estudio crítico sobre La ciénaga (Buenos Aires: Picnic Editorial, 2007b), 11.

  10. 10.

    Carri’s Cuatreros (2016) and Martel’s Zama (2017) debuted when the present study came into its final stages; they are not part of the present analyses. All additional information on these three filmmakers’ key cinematic productions is available in Appendix 1.

  11. 11.

    Several contemporary scholarly works are relevant here from different cultural contexts. See María Camí-Vela, Mujeres detrás de la cámara. Entrevistas con cineastas españolas 1990–2004 (Madrid: Ocho y Medio, 2005); Robin Blaetz, ed. Women’s Experimental Cinema. Critical Frameworks (Durham: Duke University Press, 2007); Marga Cottino-Jones, Women, Desire, and Power in Italian Cinema (New York: Palgrave Macmillan, 2010); George Melnyk and Brenda Austin Smith, eds., The Gendered Screen: Canadian Women Filmmakers (Waterloo, ON: Wilfried University Press, 2010); Maristella Cantini, ed., Italian Women Filmmakers and the Gendered Screen (New York: Palgrave Macmillan, 2013); and Patricia White, Women’s Cinema, World Cinema: Projecting Contemporary Feminisms (Durham: Duke University Press, 2015), to mention just a few.

  12. 12.

    Bettendorff and Pérez Rial, Tránsitos de la mirada, 19; Shaw and Martin, Latin American Women Filmmakers, 4.

  13. 13.

    Stuart Hall, “Encoding/decoding,” Stuart Hall, Dorothy Hobson, Andrew Lowe, and Paul Willis, eds., Culture, Media, Language: Working Papers in Cultural Studies, 1972–79 (London: University of Birmingham, 1980), 128–138.

  14. 14.

    John King, “María Luisa Bemberg and Argentine Culture,” in An Argentine Passion: María Luisa Bemberg and Her Films, eds., John King, Sheila Whitaker, and Rosa Bosch (New York: Verso, 2000), 16.

  15. 15.

    Pierre Bourdieu, The Rules of Art: Genesis and Structure of the Literary Field (Stanford: Stanford University Press, 1996), 217.

  16. 16.

    Martin and Shaw , Latin American Women Filmmakers, 1–28.

  17. 17.

    King, “María Luisa Bemberg,” 1–32.

  18. 18.

    One thinks of Claire Johnston’s seminal essay “Women’s Cinema as Counter-Cinema” in Notes on Women’s Cinema, ed. Claire Johnston (London: Society for Education in Film and Television, 1973). Johnston’s influential work calls for “developing a strategy for women’s cinema in order to counter the dominant/patriarchal mode of representing or constituting women” (31). Also see Maggie Humm, Feminism and Film (Edinburgh: Edinburgh University Press, 1997).

  19. 19.

    Camila is based on the story of an Argentine socialite, María Camila O’Gorman, and her relationship with a Catholic priest. Both lovers end up executed under the orders of dictator Juan Manuel de Rosas (1813–1838).

  20. 20.

    The spectatorship of Camila neared two million people in Argentina. See King, “María Luisa Bemberg,” 23.

  21. 21.

    Moira Soto, “Palabras preliminares,” in Tránsitos de la mirada, Bettendorff and Pérez Rial, 11.

  22. 22.

    Julianne Burton-Carvajal, “María Luisa Bemberg’s Miss Mary: Fragments of a Life and Career History,” in Redirecting the Gaze: Gender, Theory, and Cinema in the Third World, eds., Diana Robin and Ira Jaffe (Albany: SUNY, 1999), 331.

  23. 23.

    Deborah Martin, “Planeta ciénaga: Lucrecia Martel and Contemporary Argentine Women’s Filmmaking,” in Latin American Women Filmmakers, eds., Martin and Shaw , 241–262.

  24. 24.

    Soto, “Palabras preliminares,” 11.

  25. 25.

    Ana Forcinito, “‘Óyeme con los ojos.’ Miradas y voces en el cine de María Luisa Bemberg,” in Tránsitos de la mirada, Bettendorff and Pérez Rial, 41.

  26. 26.

    Bettendorff and Pérez Rial, Tránsitos de la mirada, 15.

  27. 27.

    Ibid., 145–243.

  28. 28.

    Bettendorff and Pérez Rial (2014) offer a few examples that prove indicative of certain commonalities and differences shared by several Argentine women filmmakers . Lita Stantic, who is a leading producer in Argentina, views her professional initiation into the film industry as obstacle-ridden (231); María Inés Roque has noted certain improvements in both Argentina and especially Mexico, her adoptive country, during the last decade (230); and Vanessa Ragone views the importance of festivals, workshops, and conferences for women’s cinema in Argentina as another platform for collaborations (221), to mention just a few.

  29. 29.

    Bettendorff and Pérez Rial, Tránsitos de la mirada, 231–243.

  30. 30.

    Ibid., 196.

  31. 31.

    See an interview with Martel where she furthermore clarifies: “No creo que la existencia de los festivales para las mujeres acredite la calidad narrativa de las películas, pero si alienta el entusiasmo de participación, y creo que eso es un principio” (“I do not think that the existence of women’s [film] festivals affirms the narrative quality of their films, yet it encourages enthusiasm for participation, and that, I believe, is a start”). Ibid., 194.

  32. 32.

    Kaplan, “Women, Film, Resistance,” 16.

  33. 33.

    Bettendorff and Pérez Rial, Tránsitos de la mirada, 145–243. In addition, see Deborah Martin’s comprehensive analysis of Martel’s feature-length and short films (2016).

  34. 34.

    The promulgation of this law facilitated an ample renaissance of the film industry in Argentina. See New Trends in Argentine and Brazilian Cinema, eds., Cacilda Rêgo and Carolina Rocha (Bristol: Intellect Ltd, 2010), 17–33.

  35. 35.

    See Appendix 1 of this book for these filmmakers’ complete filmographies as of 1 June 2017.

  36. 36.

    See this interview at https://www.youtube.com/watch?v=_lm-rcPNj_s. Last accessed 21 May 2016.

  37. 37.

    “Dirigir es poner el cuerpo: entrevista a Albertina Carri,” in Tránsitos de la mirada, eds., Bettendorff and Pérez Rial, 154.

  38. 38.

    “Artilugios de pensamiento: entrevista a Lucrecia Martel,” in Tránsitos de la mirada, eds., Bettendorff and Pérez Rial, 180.

  39. 39.

    “Beyond Difference: Female Participation in the Brazilian Film Revival of the 1990s,” in Latin American Women Filmmakers, eds., Martin and Shaw, 31–48.

  40. 40.

    Humm, Feminism and Film, 31.

  41. 41.

    Parvati Nair and Julián Daniel Gutiérrez-Albilla, eds., Hispanic and Lusophone Women Filmmakers: Theory, Practice, and Difference (Manchester: Manchester University Press, 2013), 9.

  42. 42.

    Gonzalo Aguilar, Other Worlds: New Argentine Film(New York: Palgrave Macmillan, 2008); Carolina Rocha and Elizabeth Montes Garcés, eds., Violence in Argentine Literature and Film (1989–2005)(Calgary: University of Calgary Press, 2010); Joanna Page, Crisis and Capitalism in Contemporary Argentine Cinema(Durham: Duke University Press, 2009); and Jens Andermann, New Argentine Cinema(London: I.B. Tauris, 2012), to mention just a few most relevant works.

  43. 43.

    See Endnote 1 of this introduction.

  44. 44.

    “Estética del cine, nuevos realismos, representación (Debate sobre el nuevo cine argentino)” Punto de Vista 23, no. 67 (agosto 2000): 3.

  45. 45.

    Poéticas en el cine argentino 1995–2005, ed. María Paulinelli (Córdoba: Comunicarte Editorial, 2005).

  46. 46.

    In Más allá del pueblo. Imágenes, indicios y políticas del cine (Buenos Aires: Fondo de Cultura Económica, 2015), Aguilar reiterates that cinema “fue el medio que había captado con más sensibilidad e inteligencia los cambios profundos e irreversibles de los años noventa” (“was the medium that had captured with more sensibility and intelligence the profound and irreversible changes of the 1990s”), 9. See also David William Foster, Contemporary Argentine Cinema (Columbia: University of Missouri Press, 1992) regarding the preceding cinematic movements in Argentina.

  47. 47.

    For the Deleuzian approach to affect, see in particular Gilles Deleuze , Cinema 1: The Movement-Image, trans. Hugh Tomlinson and Barbara Habberjam (Minneapolis: University of Minnesota Press, 1986); Gilles Deleuze and Félix Guattari, What Is Philosophy? (New York: Columbia University Press, 1991); and Gilles Deleuze, Francis Bacon: The Logic of Sensation (Minneapolis: University of Minnesota Press, 2003).

  48. 48.

    Critics have extensively tackled such constructions elsewhere. See Sara Ahmed, The Cultural Politics of Emotion (Edinburgh: Edinburgh University Press, 2004) and Catherine Lutz, “Engendered Emotion: Gender, Power, and the Rhetoric of Emotional Control in American Discourse,” in Emotions: A Social Science Reader, eds., Monica Greco and Paul Stenner (New York: Routledge, 2008). According to Lutz, “Talk about anger, for example, can be interpreted as an attempt to identify the existence of inappropriate restraint or injustice. Sadness is a discourse on the problem of loss, fear on that of danger. By extension, talk about the control of emotions would be, in feminist discourse, talk about the suppression of public acknowledgment of problems. The emotional female might then be seen not simply as a mythic construction on the axis of some arbitrary cultural dualism but as an outcome of the fact that women occupy an objectively more problematic position than does the white, upper-class, Northern European, older man who is the cultural exemplar par excellence of cool, emotionless rationality” (69–70). Sergei Eisenstein ’s work on emotion , montage, and cinema is equally relevant, particularly in Writings, 1922–1934, trans. Richard Taylor (Bloomington: Indiana University Press, 1988). Eisenstein’s take on the imbrications between emotions and cognition stayed in theoretical flux. According to Greg Smith, Eisenstein conceptualized emotions as progressions. See Greg Smith, “Moving Explosions: Metaphors of Emotion in Sergei Eisenstein’s Writings,” Quarterly Review of Film and Video 21, no. 4 (October–November 2004): 303–315. In Writings, moreover, Eisenstein explains that “only the affect can serve as the cause of organic motor manifestation and not the volitional impulse whose fate it is to act merely as a brake on and a betrayer of intention” (52). See also Marianne Liljeström and Susanna Paasonen, eds., Working with Affect in Feminist Readings: Disturbing Differences (Abingdon: Routledge, 2010).

  49. 49.

    Néstor Kirchner won against incumbent Carlos Menem in 2003. Cristina Fernández de Kirchner was subsequently elected to presidential office in 2007. Much has been written about kirchnerismo in conjunction with Argentina’s economic and political falls and revivals. One relevant, insightful, and thorough discussion comes from Cecilia Sosa’s Queering Acts of Mourning in the Aftermath of Argentina’s Dictatorship (Woodbridge: Tamesis, 2014). Sosa’s research is essential regarding the ways in which the Kirchner administration rekindled interest in the importance of “the victims as their main banner” and redirected the national debates on justice and different human rights organizations (in particular H.I.J.O.S. ) into an even more affectively intricate direction (49).

  50. 50.

    Slavoj Žižek, Organs without Bodies: On Deleuze and Consequences (New York: Routledge, 2004), 15.

  51. 51.

    Jacques Rancière, The Politics of Aesthetics (New York: Continuum, 2004), 38.

  52. 52.

    John Protevi, Political Affect: Connecting the Social and the Somatic (Minneapolis: University of Minnesota Press, 2009), 47.

  53. 53.

    Ibid., 48.

  54. 54.

    See in particular Sergei Eisenstein Writings, 1922–1934, trans. Richard Taylor (Bloomington: Indiana University Press, 1988); Giuliana Bruno, Atlas of Emotion: Journeys in Art, Architecture, and Film (London: Verso, 2007); Eve Kosofsky Sedgwick, Touching Feeling: Affect, Pedagogy, Performativity (Durham: Duke University Press, 2003); Teresa Brennan, The Transmission of Affect (Ithaca: Cornell University Press, 2004); Laura Podalsky, The Politics of Affect and Emotion in Contemporary Latin American Cinema: Argentina, Brazil, Cuba, and Mexico (New York: Palgrave Macmillan, 2011); Ed S. Tan, Emotion and the Structure of Narrative Film: Film as an Emotion Machine (New York: Routledge, 2011); and Giovanna Colombetti, The Feeling Body: Affective Science Meets the Enactive Mind (Cambridge: MIT Press, 2014), to mention just a few.

  55. 55.

    See “Introduction: Emotion and Social Science,” in Emotions: A Social Science Reader, eds., Monica Greco and Paul Stenner (New York: Routledge, 2008), 8.

  56. 56.

    Barry Richards, as quoted in Emotions: A Social Science Reader, 10.

  57. 57.

    Massumi , Politics of Affect, 5.

  58. 58.

    Melissa Gregg and Gregory J. Seigworth, “An Inventory of Shimmers,” in The Affect Theory Reader, eds., Melissa Gregg and Gregory Seigworth (Durham: Duke University Press, 2010), 1.

  59. 59.

    Ibid., 2.

  60. 60.

    Ibid., 1.

  61. 61.

    Ibid., 2.

  62. 62.

    Ibid., 2.

  63. 63.

    Roland Barthes, The Neutral, trans. Rosiland E. Krauss and Denis Hollier (New York: Columbia University Press, 2005), 101.

  64. 64.

    Kathleen Stewart, Ordinary Affects (Durham: Duke University Press, 2007), 3.

  65. 65.

    Alva Noë, Action in Perception (Cambridge: MIT Press, 2004), 216.

  66. 66.

    Gregg and Seigworth, “An Inventory of Shimmers,” 2 .

  67. 67.

    Protevi, Political Affect, xi.

  68. 68.

    Massumi, Politics of Affect, 4.

  69. 69.

    See Henri Lefebvre, La Somme et le reste (Paris: La Nef de Paris, 1959) and Critique of Everyday Life, Volume II (New York: Verso, 1962) and his proposal of a “theory of moments.” According to Lefebvre (1959), the creation of everyday life stays at the mercy of “its elements and its instants as ‘moments,’ so as to intensify the vital productivity of everydayness, its capacity for communication, for information, and also and above all for pleasure in natural and social life. The theory of moments, then, is not situated outside of everydayness, but would be articulated along with it, by uniting with critique to introduce therein what its richness lacks. It would thus tend, at the core of pleasure linked to the totality, to go beyond the old oppositions of lightness and heaviness, of seriousness and the lack of seriousness” (translated by and quoted in Paul Hammond, 1960, n.p.). http://www.cddc.vt.edu/sionline/si/moments.html. Last accessed 24 June 2016.

  70. 70.

    Gregg and Seigworth, “An Inventory of Shimmers,” 2.

  71. 71.

    Deleuze, Francis Bacon, 48.

  72. 72.

    Massumi, Politics of Affect, 5.

  73. 73.

    “Moving Explosions: Metaphors of Emotion in Sergei Eisenstein’s Writings,” Quarterly Review of Film and Video 21, no. 4 (October–November 2004): 303–315.

  74. 74.

    Massumi, Politics of Affect, 28 and 35.

  75. 75.

    Colombetti, The Feeling Body, 2.

  76. 76.

    See in particular Chap. 5 in Relationscapes: Movement, Art, Philosophy (Cambridge: MIT, 2009).

  77. 77.

    Massumi, Politics of Affect, 35.

  78. 78.

    Massumi, Parables for the Virtual: Movement, Affect, Sensation. (Durham: Durham University Press, 2002), 14 and 16.

  79. 79.

    Ibid., 16.

  80. 80.

    Ibid., 36.

  81. 81.

    Lutz, “Engendered Emotion,” 69.

  82. 82.

    Gregg and Seigworth, “An Inventory of Shimmers,” 11.

  83. 83.

    See Barbara Johnson, The Feminist Difference: Literature, Psychoanalysis, Race, and Gender (Cambridge: Harvard University Press, 1998), 13.

  84. 84.

    Jacques Rancière, The Intervals of Cinema, trans. John Howe (London: Verso, 2014), 2.

  85. 85.

    The term ethnography is used loosely to draw attention to an involuntary or deliberate active participation of non-adult subjects in complex social and power relations in these films.

  86. 86.

    Astrid Erll, “Literature, Film, and the Mediality of Cultural Memory,” in A Companion to Cultural Memory Studies, eds., Astrid Erll and Ansgar Nünning (Berlin: de Gruyter), 396.

  87. 87.

    Massumi, Politics of Affect, 93.

  88. 88.

    Bryan Turner, The Body & Society (London: Sage, 2008), 245.

  89. 89.

    Kaplan, “Women, Film, Resistance,” 12.

  90. 90.

    Colombetti, The Feeling Body, 13.

  91. 91.

    Giuliana Bruno, “Pleats of Matter, Folds of the Soul,” in Afterimages of Gilles Deleuze’s Film Philosophy, ed. D. N. Rodowick (Minneapolis: University of Minnesota Press, 2010), 21–43.

  92. 92.

    Ibid., 227.

  93. 93.

    Gregg and Seigworth, “An Inventory of Shimmers,” 4.

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    Inela Selimović

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Selimović, I. (2018). Introduction. In: Affective Moments in the Films of Martel, Carri, and Puenzo. Palgrave Macmillan, London. https://doi.org/10.1057/978-1-137-49642-3_1

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