La carga epocal de la imagen: la perspectiva animal en "La mujer sin cabeza", de Lucrecia Martel

Abstract

Creating a perspective in cinema is a delicate exercise, since it implies the assumption that there is more than one at stake, thus compelling to approach/address the issue from its own intersectionality. The case of The Headless Woman interested me for construing an animal perspective as a transition from a patriarchal power to a viral one, as well as a sophistication of the former. Through the analysis of the film, my proposal is to investigate the sounding resources that Martel utilizes to suspend what Agamben famously named as the anthropological machine that produces the human, along with its contemporary paradigm shift. Thus, it is in the junctions of such a labirynth made of sounds that the epochal emergence of the image is brought into play, defying arts to restore life to it without leaning on a previous schematism.