Establishing the female gaze: narrative subversion in Lucrecia Martel’s La niña santa (2004) and La ciénaga (2001)

References

• Badiou, A. 2006. Being and Event, translated by O. Feltham. London: Continuum.
   Google Scholar
• Butler, A. 2002. Woman’s Cinema: The Contested Screen. London: Wallflower.
   Google Scholar
• De Lauretis, T. 2000. “Strategies of Coherence: Narrative Cinema, Feminist Poetics, and Yvonne Rainer.” In Feminism and Film, edited by A. Kaplan, 265–86. Oxford: Oxford University Press.
   Google Scholar
• De Luca, T. 2014. Realism of the Senses in World Cinema: The Experience of Physical Reality. London: I.B. Tauris.
   Google Scholar
• Deleuze, G. 1986. Cinema 1: The Movement-Image, translated by H. Tomlinson and B. Habberjam. Minneapolis: University of Minnesota Press.
   Google Scholar
• Deleuze, G. 1989. Cinema 2: The Time-Image, translated by H. Tomlinson and R. Galeta. Minneapolis: University of Minnesota Press.
   Google Scholar
• Doane, M. A. 2000. “Film and the Masquerade: Theorising the Female Spectator.” In Feminism and Film, edited by A. Kaplan, 418–36. Oxford: Oxford University Press.
   Google Scholar
• Doane, M. A. 2003. “The Close-Up: Scale and Detail in the Cinema.” Differences: A Journal of Feminist Cultural Studies 14 (3): 89–111.
   Google Scholar
• Forcinito, A. 2006. “Mirada cinematográfica y género sexual: mímica, erotismo y ambigüedad en Lucrecia Martel.” Chasqui 35 (2): 109–30.
   Google Scholar
• François, C. 2009. “El cine de Lucrecia Martel: una estética de la opacidad.” Espéculo: Revista de Estudios Literarios 43. Accessed 13 August 2015. http://pendientedemigracion.ucm.es/info/especulo/numero43/lucmarte.html
   Google Scholar
• Getino, O., and F. Solanas. 1969. “Hacia un tercer cine: apuntes y experiencias para el desarrollo de un cine de liberación en el tercer mundo.” Tricontinental 14: 107–32.
   Google Scholar
• Gledhill, C. 2000. “Klute 1: A Contemporary Film Noir and Feminist Criticism.” In Feminism and Film, edited by A. Kaplan, 66–85. Oxford: Oxford University Press.
   Google Scholar
• Heath, S. 1981. Questions of Cinema. Basingstoke: Macmillan.
   Google Scholar
• Irigaray, L. 1985. This Sex Which Is Not One, translated by C. Porter and C. Burke. New York: Cornell University Press.
   Google Scholar
• Irigaray, L. 1987. “Sexual Difference.” In French Feminist Thought, edited by T. Moi, 118–32. Oxford: Blackwell.
   Google Scholar
• Jones, K. 2007. Physical Evidence: Selected Film Criticism. Middletown, CT: Wesleyan University Press.
   Google Scholar
• Kaplan, A. 2000. “Is the Gaze Male?” In Feminism and Film, edited by A. Kaplan, 119–38. Oxford: Oxford University Press.
   Google Scholar
• Kristeva, J. 1984. Revolution in Poetic Language. New York: Columbia University Press.
   Google Scholar
• Kristeva, J. 1986. “The System and the Speaking Subject.” In The Kristeva Reader, edited by T. Moi, 24–33. Oxford: Blackwell.
   Google Scholar
• Lange-Churión, P. 2012. “The Salta Trilogy: The Civilised Barbarism in Lucrecia Martel’s Films.” Contemporary Theatre Review 22 (4): 467–84.
   Web of Science ®Google Scholar
• Lévi-Strauss, C. 1978. Myth and Meaning. New York: Schocken Books.
   Google Scholar
• Martin, D. 2011. “Wholly Ambivalent Demon-Girl: Horror, the Uncanny and the Representation of Feminine Adolescence in Lucrecia Martel’s La niña santa.” Journal of Iberian and Latin American Studies 17 (1): 59–76.
   Google Scholar
• Martins, L. 2011. “En contra de contar historias. Cuerpos e imágenes hápticas en el cine argentino (Lisandro Alonso y Lucrecia Martel).” Revista de Crítica Literaria Latinoamericana 37 (73): 401–20.
   Google Scholar
• Metz, C. 1974. Film Language: A Semiotics of the Cinema. New York, NY: Oxford University Press.
   Google Scholar
• Metz, C. 1980. “Aural Objects.” Yale French Studies 60: 24–32.
   Web of Science ®Google Scholar
• Metz, C. 1982. The Imaginary Signifier: Psychoanalysis and the Cinema, translated by C. Britton, A. Williams, B. Brewster, and A. Guzzetti, 58–66. Bloomington: Indiana University Press.
   Google Scholar
• Mulvey, L. 1975. “Visual Pleasure and Narrative Cinema.” Screen 16 (3): 6–18.
   Google Scholar
• Page, J. 2009. Crisis and Capitalism in Contemporary Argentine Cinema. Durham NC: Duke University Press.
   Google Scholar
• Pateman, C. 1989. The Disorder of Women. Stanford, CA: Stanford University Press.
   Google Scholar
• Russell, D. 2008. “Lucrecia Martel: ‘A Decidedly Polyphonic Cinema’.” Jump Cut. Accessed 13 August 2015. http://www.ejumpcut.org/archive/jc50.2008/LMartelAudio/text.html
   Google Scholar
• Shaw, D. 2013. “Sex, Texts and Money, Funding and Latin American Queer Cinema: The Cases of Martel’s La niña santa and Puenzo’s XXY.” Transnational Cinemas 4 (2): 165–84.
   Google Scholar
• Silverman, K. 1988. The Acoustic Mirror: The Female Voice in Psychoanalysis and Cinema. Bloomington: Indiana University Press.
   Google Scholar
• Slobodian, J. 2012. “Analyzing the Woman Auteur: The Female/Feminist Gazes of Isabel Coixet and Lucrecia Martel.” The Comparatist 36: 160–77.
   Google Scholar
• Taubin, A. 2009. “Shadow of a Doubt: Lucrecia Martel Interviewed.” Film Comment, July–August issue. Accessed 13 August 2015. http://www.filmcomment.com/article/shadow-of-a-doubt-lucrecia-martel-interviewed
   Google Scholar
• Tompkins, C. 2009. “Paradoxical Inscription and Subversion of the Gendered Construction of Time, Space, and Roles in María Victoria Menis’s El cielito (2004) and Inés de Oliveira Cézar’s Cómo pasan las horas (2005) and Extranjera (2007).” Chasqui 38 (1): 38–56.
   Google Scholar
• Williams, L. 2000. “‘Something Else Besides a Mother’: Stella Dallas and the Maternal Melodrama.” In Feminism and Film, edited by A. Kaplan, 466–78. Oxford: Oxford University Press.
   Google Scholar