Terror y sexualidad: lo ominoso en el cine de Lucrecia Martel
- Autores
- Rubino, Atilio Raúl
- Año de publicación
- 2015
- Idioma
- español castellano
- Tipo de recurso
- artículo
- Estado
- versión publicada
- Descripción
- Based on the concept of the uncanny (Das Unheimliche), which was coined by Freud in 1919, this article has the purpose of analyzing elements that are characteristic of the horror genre in three films by the Argentine filmmaker Lucrecia Martel: La Ciénaga (2001), La niña santa (a.k.a. “The Holy Girl”, 2004) y La mujer sin cabeza (a.k.a. “The Headless Woman”, 2008). In these films, there are a number of supernatural and horror elements, such as the apparitions of the Virgin Mary and the African rat in La ciénaga, the signs and the divine callings in The Holy Girl, and the ghosts in The Headless Woman, among others. These elements, however, work as a fantasy and horror counterpoint for the real-world uncanny presences, which arise from the everyday things and threaten to disturb the order: death, murder and, in particular, non-normative sexualities, that is, active and free female sexuality, child and teenage sexuality, incest, homosexuality and lesbianism.
Facultad de Humanidades y Ciencias de la Educación - Materia
-
Artes Audiovisuales
Cine
Terror
Lucrecia Martel - Nivel de accesibilidad
- acceso abierto
- Condiciones de uso
- http://creativecommons.org/licenses/by-nc-sa/4.0/
- Repositorio
- Institución
- Universidad Nacional de La Plata
- OAI Identificador
- oai:sedici.unlp.edu.ar:10915/120536
Ver los metadatos del registro completo
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Terror y sexualidad: lo ominoso en el cine de Lucrecia MartelRubino, Atilio RaúlArtes AudiovisualesCineTerrorLucrecia MartelBased on the concept of the uncanny (Das Unheimliche), which was coined by Freud in 1919, this article has the purpose of analyzing elements that are characteristic of the horror genre in three films by the Argentine filmmaker Lucrecia Martel: La Ciénaga (2001), La niña santa (a.k.a. “The Holy Girl”, 2004) y La mujer sin cabeza (a.k.a. “The Headless Woman”, 2008). In these films, there are a number of supernatural and horror elements, such as the apparitions of the Virgin Mary and the African rat in La ciénaga, the signs and the divine callings in The Holy Girl, and the ghosts in The Headless Woman, among others. These elements, however, work as a fantasy and horror counterpoint for the real-world uncanny presences, which arise from the everyday things and threaten to disturb the order: death, murder and, in particular, non-normative sexualities, that is, active and free female sexuality, child and teenage sexuality, incest, homosexuality and lesbianism.Facultad de Humanidades y Ciencias de la Educación2015info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionArticulohttp://purl.org/coar/resource_type/c_6501info:ar-repo/semantics/articuloapplication/pdf70-87http://sedici.unlp.edu.ar/handle/10915/120536spainfo:eu-repo/semantics/altIdentifier/issn/2191-642Xinfo:eu-repo/semantics/altIdentifier/doi/10.11588/helix.2015.0.19399info:eu-repo/semantics/openAccesshttp://creativecommons.org/licenses/by-nc-sa/4.0/Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International (CC BY-NC-SA 4.0)reponame:SEDICI (UNLP)instname:Universidad Nacional de La Platainstacron:UNLP2025-09-03T11:00:38Zoai:sedici.unlp.edu.ar:10915/120536Institucionalhttp://sedici.unlp.edu.ar/Universidad públicaNo correspondehttp://sedici.unlp.edu.ar/oai/snrdalira@sedici.unlp.edu.arArgentinaNo correspondeNo correspondeNo correspondeopendoar:13292025-09-03 11:00:38.451SEDICI (UNLP) - Universidad Nacional de La Platafalse |
dc.title.none.fl_str_mv |
Terror y sexualidad: lo ominoso en el cine de Lucrecia Martel |
title |
Terror y sexualidad: lo ominoso en el cine de Lucrecia Martel |
spellingShingle |
Terror y sexualidad: lo ominoso en el cine de Lucrecia Martel Rubino, Atilio Raúl Artes Audiovisuales Cine Terror Lucrecia Martel |
title_short |
Terror y sexualidad: lo ominoso en el cine de Lucrecia Martel |
title_full |
Terror y sexualidad: lo ominoso en el cine de Lucrecia Martel |
title_fullStr |
Terror y sexualidad: lo ominoso en el cine de Lucrecia Martel |
title_full_unstemmed |
Terror y sexualidad: lo ominoso en el cine de Lucrecia Martel |
title_sort |
Terror y sexualidad: lo ominoso en el cine de Lucrecia Martel |
dc.creator.none.fl_str_mv |
Rubino, Atilio Raúl |
author |
Rubino, Atilio Raúl |
author_facet |
Rubino, Atilio Raúl |
author_role |
author |
dc.subject.none.fl_str_mv |
Artes Audiovisuales Cine Terror Lucrecia Martel |
topic |
Artes Audiovisuales Cine Terror Lucrecia Martel |
dc.description.none.fl_txt_mv |
Based on the concept of the uncanny (Das Unheimliche), which was coined by Freud in 1919, this article has the purpose of analyzing elements that are characteristic of the horror genre in three films by the Argentine filmmaker Lucrecia Martel: La Ciénaga (2001), La niña santa (a.k.a. “The Holy Girl”, 2004) y La mujer sin cabeza (a.k.a. “The Headless Woman”, 2008). In these films, there are a number of supernatural and horror elements, such as the apparitions of the Virgin Mary and the African rat in La ciénaga, the signs and the divine callings in The Holy Girl, and the ghosts in The Headless Woman, among others. These elements, however, work as a fantasy and horror counterpoint for the real-world uncanny presences, which arise from the everyday things and threaten to disturb the order: death, murder and, in particular, non-normative sexualities, that is, active and free female sexuality, child and teenage sexuality, incest, homosexuality and lesbianism. Facultad de Humanidades y Ciencias de la Educación |
description |
Based on the concept of the uncanny (Das Unheimliche), which was coined by Freud in 1919, this article has the purpose of analyzing elements that are characteristic of the horror genre in three films by the Argentine filmmaker Lucrecia Martel: La Ciénaga (2001), La niña santa (a.k.a. “The Holy Girl”, 2004) y La mujer sin cabeza (a.k.a. “The Headless Woman”, 2008). In these films, there are a number of supernatural and horror elements, such as the apparitions of the Virgin Mary and the African rat in La ciénaga, the signs and the divine callings in The Holy Girl, and the ghosts in The Headless Woman, among others. These elements, however, work as a fantasy and horror counterpoint for the real-world uncanny presences, which arise from the everyday things and threaten to disturb the order: death, murder and, in particular, non-normative sexualities, that is, active and free female sexuality, child and teenage sexuality, incest, homosexuality and lesbianism. |
publishDate |
2015 |
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2015 |
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http://creativecommons.org/licenses/by-nc-sa/4.0/ Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International (CC BY-NC-SA 4.0) |
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