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dc.contributor.author
Aguilar, Gonzalo Moises
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dc.contributor.other
Christofoletti Barrenha, Natalia
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dc.contributor.other
Kratje, Julia
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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
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dc.subject.classification
Arte
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dc.subject.classification
HUMANIDADES
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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
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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
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