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
SEDICI (UNLP)
Institución
Universidad Nacional de La Plata
OAI Identificador
oai:sedici.unlp.edu.ar:10915/120536
Acceder
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repository_id_str 1329
network_name_str SEDICI (UNLP)
spelling 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:UNLP2025-09-29T11:28:30Zoai: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:13292025-09-29 11:28:30.813SEDICI (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
dc.date.none.fl_str_mv 2015
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info:eu-repo/semantics/publishedVersion
Articulo
http://purl.org/coar/resource_type/c_6501
info:ar-repo/semantics/articulo
format article
status_str publishedVersion
dc.identifier.none.fl_str_mv http://sedici.unlp.edu.ar/handle/10915/120536
url http://sedici.unlp.edu.ar/handle/10915/120536
dc.language.none.fl_str_mv spa
language spa
dc.relation.none.fl_str_mv info:eu-repo/semantics/altIdentifier/issn/2191-642X
info:eu-repo/semantics/altIdentifier/doi/10.11588/helix.2015.0.19399
dc.rights.none.fl_str_mv info:eu-repo/semantics/openAccess
http://creativecommons.org/licenses/by-nc-sa/4.0/
Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International (CC BY-NC-SA 4.0)
eu_rights_str_mv openAccess
rights_invalid_str_mv http://creativecommons.org/licenses/by-nc-sa/4.0/
Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International (CC BY-NC-SA 4.0)
dc.format.none.fl_str_mv application/pdf
70-87
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repository.name.fl_str_mv SEDICI (UNLP) - Universidad Nacional de La Plata
repository.mail.fl_str_mv alira@sedici.unlp.edu.ar
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