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dc.contributor.author
Aguilar, Gonzalo Moises  
dc.contributor.other
Christofoletti Barrenha, Natalia  
dc.contributor.other
Kratje, Julia  
dc.contributor.other
Merchant, Paul  
dc.date.available
2023-04-04T12:58:15Z  
dc.date.issued
2022  
dc.identifier.citation
Aguilar, Gonzalo Moises; Masculinity, Desire and Performance in The Holy Girl; Edinburgh University Press; 2022; 89-97  
dc.identifier.isbn
978-1-4744-8522-7  
dc.identifier.uri
http://hdl.handle.net/11336/192622  
dc.description.abstract
After finishing their catechism lessons, Amalia and her friends take a walk around the small Salta town they live in. They usually stop by the storefront of a shop in which a musician demonstrates a theremin, a Russian instrument which works through electromagnetic waves. People crowd the pavement before what appears to be a miracle: an instrument which produces sounds not through contact, but through the movements of the player’s hands. This scene before the music store happens three times in Lucrecia Martel’s The Holy Girl/La niña santa (2004). In two of them, we see sexual harassment or what we could call, for lack of an established concept, the apoyada. 1 During the first scene, Dr Jano − who is in town to take part in a professional congress − approaches Amalia from behind and presses himself against her. The teenager is frozen, and the aggressor runs away when she turns to look at his face. Amalia, who is just out of her catechism lessons, sees this event as part of a divine plan involving her and this stranger, whom she will later identify as Jano. The second time they meet on the pavement, Amalia takes the initiative and stands before Jano for him to repeat the action. She also tries to touch his hand, and when he pulls it away, scared, she immediately turns to look at him. Jano escapes again. He does not know yet that Amalia is the daughter of Helena, the owner of the hotel he is staying at, whom he is trying to seduce. Jano is also unaware that Amalia believes they are both part of that ‘divine plan’, which she refers to as ‘the calling’ after the topic they are covering in her catechism lessons...  
dc.format
application/pdf  
dc.language.iso
eng  
dc.publisher
Edinburgh University Press  
dc.rights
info:eu-repo/semantics/restrictedAccess  
dc.rights.uri
https://creativecommons.org/licenses/by-nc-sa/2.5/ar/  
dc.subject
LUCRECIA MARTEL  
dc.subject
ACOSO SEXUAL  
dc.subject
CINE ARGENTINO  
dc.subject
MASCULINIDAD  
dc.subject.classification
Estudios sobre Cine, Radio y Televisión  
dc.subject.classification
Arte  
dc.subject.classification
HUMANIDADES  
dc.title
Masculinity, Desire and Performance in The Holy Girl  
dc.type
info:eu-repo/semantics/publishedVersion  
dc.type
info:eu-repo/semantics/bookPart  
dc.type
info:ar-repo/semantics/parte de libro  
dc.date.updated
2023-03-30T23:29:41Z  
dc.journal.pagination
89-97  
dc.journal.pais
Reino Unido  
dc.journal.ciudad
Edinburgh  
dc.description.fil
Fil: Aguilar, Gonzalo Moises. Consejo Nacional de Investigaciones Científicas y Técnicas; Argentina  
dc.relation.alternativeid
info:eu-repo/semantics/altIdentifier/url/https://edinburghuniversitypress.com/book-refocus-the-films-of-lucrecia-martel.html  
dc.conicet.paginas
232  
dc.source.titulo
ReFocus: The Films of Lucrecia Martel