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PALGRAVE STUDIES IN (RE)PRESENTING GENDER
SERIES EDITOR: EMMA REES

Body, Gender, and

Sexuality in
Latin American Cinema:
Insurgent Skin
Juli A. Kroll
Palgrave Studies in (Re)Presenting Gender

Series Editor
Emma Rees
Director, Institute of Gender Studies
University of Chester
Chester, UK
​ he focus of Palgrave Studies in (Re)Presenting Gender is on gender and
T
representation. The ‘arts’ in their broadest sense – TV, music, film, dance,
and performance – and media re-present (where ‘to represent’ is taken in
its literal sense of ‘to present again’, or ‘to give back’) gender globally.
How this re-presentation might be understood is core to the series.
In re-presenting gendered bodies, the contributing authors can shift
the spotlight to focus on marginalised individuals’ negotiations of gender
and identity. In this way, minority genders, subcultural genders, and gen-
der inscribed on, in, and by queer bodies, take centre stage. When the
‘self’ must participate in and interact with the world through the body,
how that body’s gender is talked about – and side-lined or embraced by
hegemonic forces – becomes paramount. These processes of representa-
tion – how cultures ‘give back’ gender to the individual – are at the heart
of this series.
 Juli A. Kroll

Body, Gender, and

Sexuality in Latin
American Cinema:
Insurgent Skin
Juli A. Kroll
Modern and Classical Languages
University of St. Thomas
St Paul, MN, USA

ISSN 2662-9364     ISSN 2662-9372 (electronic)

Palgrave Studies in (Re)Presenting Gender
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For my family
 Contents

1 Introduction  1

2 Lesbian
 Pathology and Monstrous Maternity in Lucrecia
Martel’s Salta Trilogy 13

3 The
 Lesbian Utopia of Albertina Carri’s Las hijas del fuego
(2018) 65

4 Non-Binary:
 Gender Trouble and Intersex Bodies in
Latin American Cinema113

5 Prosthetic
 Memory and Uncanny Absence: The Female
Body in Tempestad (2016) by Tatiana Huezo161

6 Embodied
 Existence as Resistance: The Transgender Body
in Una mujer fantástica (2017) and Bixa Travesty (2018)203

Index245

vii
 List of Figures

Fig. 2.1 Middle-aged family members creep into frame in La ciénaga’s

opening sequence. (Amazon Prime Video) 14
Fig. 2.2 Momi (Sofía Bertoletto) lounging by the pool with her brother
José (Juan Cruz Bordeau) eludes the spectator’s gaze. Their
figures line the edges of the frame. (eyeforfilm.co.uk) 29
Fig. 2.3 The spectral child’s unresponsive body. (gtglobalcinema.
wordpress.com)35
Fig. 2.4 Toward a collective female gaze: Josefina (Julieta Zylberberg)
and Amalia (María Alche) watch as Inés (Mía Maestro) sings a
hymn and is overwhelmed with religious passion. (cinema.
indiana.edu)37
Fig. 2.5 Helena (Mercedes Morán) as a goddess in disguise and
potential object of the male gaze in La niña santa (2004).
(bampfa.org)43
Figs. 2.6
and 2.7 The child’s handprints on Vero’s (María Onetto) car window
change from innocent imprints to something more skeletal or
quasi-canine after the impact. (anothergaze.com) 47
Fig. 2.8 Vero is figuratively decapitated by the technologies of
radiography. (cinemaruwordpress.com) 48
Figs. 2.9
and 2.10 A deeply disturbed Vero seeks to soothe her head and neck.
(anothergaze.com, learningandcreativity.com) 51
Fig. 2.11 Vero, Candita, and Cuca in the matrixial, trans-subjective space.
(Chicagoreader.com)53

ix
x List of Figures

Fig. 3.1 Violeta (Carolina Alamino Barthaburu), Agustina (Mijal

Katzowicz), and Carmen (Rocío Zuviría) contemplate
Argentina’s seafaring history. (www.viennale.at/en/films/
hijas-­del-­fuego) 88
Fig. 3.2 After cross-dressed Violeta (Carolina Alamino Barthaburu) pulls
damsel Sofía (Alanna Colona Olson) to safety, they share a kiss.
(www.viennale.at/en/films/hijas-­del-­fuego) 95
Fig. 3.3 Violeta (Carolina Alamino Barthaburu)-in-drag and damsel
Sofía (Alanna Colona Olson) enjoy pleasuring Sofía’s (strap-on)
phallus. (www.viennale.at/en/films/hijas-­del-­fuego) 96
Fig. 3.4 Rosario (María Eugenia Marcet) prepares for the masturbation-­
apotheosis at the end of Las hijas del fuego (2018) (www.
viennale.at/en/films/hijas-­del-­fuego) 103
Fig. 4.1 Ariel (Lucía Bedoya) stares at the viewer through the bony legs
of mannequins. (www.prensa.com) 148
Fig. 4.2 Ariel’s (Lucía Bedoya) lower body is illuminated in Yo, imposible
(Dir. Patricia Ortega, 2018) (Amazon Prime Video) 149
Fig. 4.3 The spectral crone figure and the death of the mother loom in
Yo, imposible (Dir. Patricia Ortega, 2018) (Amazon Prime Video) 150
Fig. 4.4 Ariel (Lucía Bedoya) is illuminated in the bath in Yo, imposible
(Dir. Patricia Ortega, 2018). (Amazon Prime Video) 152
Fig. 5.1 A young woman walks toward the family circus encampment
and away from the dark perimeter in Tempestad (Dir. Tatiana
Huezo, 2016). (youtube.com) 162
Fig. 5.2 An abandoned building in Tempestad evokes feeling of
enclosure and neglect. (Alexander Street) 171
Fig. 5.3 Close-up of a little boy’s ear is accompanied by waves of
non-diegetic wind and humming sounds in the last 10 minutes
of Tempestad. (Alexander Street) 179
Fig. 5.4 Spectral hands dangle at the edge of the frame in Tempestad’s
final sequence. (Alexander Street) 192
Fig. 5.5 Tempestad’s final image begins as a white oval—the surface
of a cavernous swimming hole filmed from underwater.
(Alexander Street) 195
Fig. 5.6 Uncanny affect as the viewer sees Miriam’s body for the first
time in Tempestad. (Alexander Street) 195
Fig. 6.1 Marina (Daniela Vega) struggles to make headway against the
obstacles facing her, while the special effect, “the lean,”
exaggerates her struggle. (www.berlinale.de) 219
Fig. 6.2 Marina (Daniela Vega) is lifted to new heights in a musical
interlude at the club. (https://observancyfilmblog.wordpress.
com)221
Fig. 6.3 Linn da Quebrada performs transfeminist, Brazilian funk/rap
in São Paolo in Bixa Travesty. (imdb.com) 232
 CHAPTER 1

Introduction

A Revolution of Queer Signifying

The changing representation of LGBTQI (Lesbian, Gay, Bisexual,
Transgender, Queer and Questioning, Intersex) bodies and identities in
the #metoo and #NiUnaMenos era has shifted the ways in which global
cinema is addressing gender, sexuality, identity, and embodiment.1
Simultaneously, Latin America has been at the forefront of advocacy for
LGBTQI rights. Same-sex marriage was legalized in Argentina in 2010,
after which several Latin American countries and states followed: Mexico
City and various Mexican states beginning in 2010, Brazil and Uruguay in
2013, Colombia in 2016, Ecuador in 2019, Costa Rica in 2020, and Chile
in 2022. The passing of Argentina’s Gender Identity Law in 2012 pro-
vided access to gender re-assignment surgery and hormonal treatment as
part of public and private healthcare plans, and it permitted adults to
legally change their gender without approval of a doctor or judge.2
Uruguay’s progressive transgender legislation in 2018 similarly allowed
transgender people to legally change their name and gender without
extensive bureaucracy and ensured access to state-funded medical treat-
ment for gender-related issues and employment quotas for trans people.
These examples of gains for LGBTQI people coincide with unfortunately
high rates of gendered violence and trans and homophobia, especially in

© The Author(s), under exclusive license to Springer Nature 1

Switzerland AG 2022
J. A. Kroll, Body, Gender, and Sexuality in Latin American Cinema:
Insurgent Skin, Palgrave Studies in (Re)Presenting Gender,
https://doi.org/10.1007/978-3-030-84558-2_1
2 J. A. KROLL

places like Mexico, which is currently in the midst of a femicide crisis, and
Brazil, which has some of the highest trans murder rates in Latin America.
In the midst of these contradictions, Latin American cinema since 2000
has moved toward empowering narratives that go beyond binary gender
and sexuality dynamics that privilege compulsory heterosexuality, capital-
ism, colonialism, and Hollywood models of viability of the speaking subject,
in order to profoundly engage with LGBTQI identities. Whereas late-twen-
tieth-century films from Latin America at times stigmatized non-­normative
bodies, genders, and sexualities as unviable, outcasts, or undesirable—using
images of pathology and voyeuristic spectacle to represent their unfathom-
able desires—twenty-first-century Latin American cinema has shifted its
focus. In the twenty-first century, we are seeing genre-­blending collabora-
tions and lesbian, queer, gay, trans, and non-­normatively sexualized bodies
on screen communicating their experiences directly to the audience.
Insurgent Skin argues that twenty-first-century Latin American film is
revolutionary in its engagement with LGBTQI and feminist issues, dem-
onstrating an ability to represent marginalized subjects with empathy and
creating a new signifying matrix informed by queer theory and film phe-
nomenology. Latin American cinema is pushing the envelope of the inter-
nationally viable, feature film by exposing both local and international
audiences to films about women, gays and lesbians, intersex people, and
trans populations. To understand the breadth of Latin American cinema’s
engagement with non-heteronormative, non-hierarchical subject posi-
tions, Insurgent Skin analyzes a range of twenty-first-century films from
Argentina, Mexico, Chile, Colombia, Peru, and Brazil. Providing depth to
the analyses are theories of phenomenology of the body in film and inter-
sectional analyses from feminist and queer studies, along with notions of
the haptic and affect theory.
Nearly a half century has passed since Laura Mulvey’s influential 1975
essay, “Visual Pleasure and Narrative Cinema,” in which she observed that
women are the object of the scopophilic, male gaze in the classical cine-
matic paradigm. Within this signifying practice, women are visually objec-
tified by the male gaze as a fetishized spectacle. Since then, Linda Williams,
Mary Ann Doane, E. Ann Kaplan, Jackie Stacey, Teresa de Lauretis, Luce
Irigaray, Hélène Cixous, Judith Butler, and other feminist theorists and
queer film theorists have worked to recover space for women’s and queer
perspectives in film. In the chapters that follow, I provide background
about gender and sexual identity as social constructs, about the gaze,
apparitionality,3 queer subjecthood, and performativity, and I relate these
 1 INTRODUCTION 3

ideas to theories of bodily phenomenology in cinema and the film as mate-

rial text that affects the viewer.
Teresa de Lauretis defines queer texts as those that disrupt the referen-
tiality of languages and images.

I may provisionally call queer a text of fiction—be it literary or audiovisual—

that not only works against narrativity, the generic pressure of all narrative
toward closure and fulfillment of meaning, but also pointedly disrupts the
referentiality of language and the referentiality of images, what Pier Paolo
Pasolini, speaking of cinema, called “the language of reality.” (de Lauretis
2011, 244)

Karl Schoonover and Rosalind Galt explain the mutual interests that exist
between queer and feminist signifying, saying that it is important to think
about queer cinema “in terms of its staging of sexuality, gendered embodi-
ment, and nonheteronormative sex,” with cinema being “a principal tech-
nology of gender and sexuality” (Schoonover and Galt 2016, 11) that is
capable of disrupting existing ideological paradigms.
Informing the film analyses in this book, various strands of feminist and
queer theory intersect with phenomenology of the body, embodiment,
and theories of affect and audience response. Considering film phenome-
nology, key sources include Vivian Sobchak’s The Address of the Eye: A
Phenomenology of Film Experience (1992), which discusses a film’s func-
tional materiality and the viewer’s embodied experience. Sobchak is in
turn influenced by Maurice Merleau-Ponty’s Phenomenology of Perception
(1945/1992) and Christian Metz’s The Imaginary Signifier (1977), in
which Metz discusses the double movement of projective and introjective
modes of vision. Further reference points are Sobchak’s Carnal Thoughts:
Embodiment and Moving Image Culture (2004) and Sara Ahmed’s Queer
Phenomenology: Orientations, Objects, Others (2006), in which Ahmed
develops a queer phenomenology as a politics of disorientation and new
social relationships between the self, objects, and others.
Other studies of embodiment and phenomenology in film theory that
I incorporate are works by Steven Shaviro, Laura U. Marks, and Jennifer
M. Barker. Further, I engage with scholarship on acousmatic sound in
cinema by Michel Chion and Matt Losada, and I discuss affect theory as it
relates to cinema from theorists such as Silvan Tomkins, Eve Kosofsky
Sedgwick, Martine Beugnet, and Eugenie Brinkema.
Even though political discourse has often leveraged competing claims
between LGBTQI and feminist perspectives, emerging trends in film
4 J. A. KROLL

studies are toward intersectionality, inclusivity, and viewing LGBTQI and

feminist cinema more along a continuum and less in terms of reductive
dualities. Schoonover and Galt (2016) postulate the unpredictable rela-
tionships and affective response that queer cinema makes possible, saying
that “the affective register of world cinema opens up potentialities for
queer cathexes that become transnational, reaching out in unpredictable
directions” (166). David William Foster describes queer sensibility as
“that which transgresses the entire array of norms of the heterosexist patri-
archy, not just the erotic ones” (Foster 2015, 28). Along these lines, in
Chap. 2, I examine Argentinean director Lucrecia Martel’s Salta trilogy
(La ciénaga 2001; La niña santa 2004; La mujer sin cabeza 2008) as
­disrupting the codes of classical Hollywood cinema that David Bordwell
describes. These include the use of psychologically well-defined characters
and clear-cut obstacles and goals, the privileging of causality, frequent use
of two parallel plot lines, chronological sequencing, resolution of conflict,
spatial realism and the primacy of the visual, and more (Bordwell 1986). I
argue that Martel’s Salta trilogy is queer in its lack of adherence to classical
Hollywood conventions in favor of new signifying modes, and queer in its
inclusion of lesbian characters (La ciénaga and La mujer sin cabeza) and
homosocial bonding (La niña santa).
Within the context of confluences between film phenomenology,
informed by haptics and acousmatic sound, queer theory, and theories of
the gaze in cinema, Martel’s Salta trilogy shows a trajectory of queer sig-
nifying. If La ciénaga disrupts classical cinematic conventions with its
crowded frames, difficult spatial orientations, and haptics, then its queer
cinematic language is also echoed in the queer desire that 15-year-old
character Momi harbors for the indigenous maid, Isabel. These un-­
governable representational mechanisms and desires spill over the bounds
of the film to reflect uncertainty about Argentina’s post-dictatorship iden-
tity. While La ciénaga reflects on ungovernable queer desires, La niña
santa explores alternatives to the heteronormative, scopophilic gaze via
the homosociality of two adolescent girls. La mujer sin cabeza, meanwhile,
works toward the critical activation of the spectator who simultaneously
engages with alternative signifying practices.
El último verano de la Boyita also counters intersex discrimination by
showing a successful gender indeterminate natural space constructed by a
little girl and an intersex child in the Argentinean pampas. I analyze the
types of gaze that contribute to this space and engage with concepts of
queer childhood as “growing sideways” in Latin American cinema (Bond
Stockton 2009; Martin 2013).
 1 INTRODUCTION 5

Whereas Chap. 2 focuses on Argentinean auteur Martel and elements

of queer signifying in the Salta trilogy films, Chap. 3 shifts attention to
another Argentinean auteur filmmaker, Albertina Carri. The offspring of
parents who were kidnapped during the dictatorship and subsequently
murdered, Carri has memorialized the process of re-constructing the past
via documentary projects and feature films. In her 2018 film Las hijas del
fuego, however, she turned her attention to the pornographic genre to
make a lesbian, feminist, pornographic road movie which claims the body
as pure pleasure and explores multiple feminist and lesbian gazes. Reacting
to the binary thinking about gender typified by the early gaze theory of
Mulvey and other feminists, Mary T. Conway (1997) observes that some
of the problematics of early theorizing of female spectatorship are
addressed by this shift in focus from text to audience effects. According to
Conway, the mobilization of the female porn spectator’s desire contrasts
with Mary Ann Doane’s asexual female spectator and with Judith Mayne’s
reading of privileged female spectatorship, which “entails masquerade and
the adoption of masculine characteristics” (Conway 1997, 107). Conway
claims that the female lesbian porn spectator enjoys the “reward of identi-
fying with and objectifying little seen representations of lesbian sexuality,
without requiring unpleasant shifts in gender identity” (Conway 1997,
107). Conway goes on to laud the possibilities of lesbian produced porn.
In analyzing Las hijas del fuego, I discuss Ingrid Ryberg’s idea that lesbian,
pornographic, cinematic space can facilitate multiple, dynamic transac-
tions of counter-public activism and intimate public affirmation (Ryberg
2013, 147–148). In this realm, the cinematic viewer’s participation is “as
much a matter of personal development and sexual self-exploration as of
activism, of making a new discourse on sexuality and gender visible and
accessible to a wider public” (Ryberg 2013, 149).
Establishing a public forum for access and activism, Ryberg explains the
counter-public space as “an alternative space where marginalized groups
formulate and circulate counter discourses” and where “queer, feminist,
and lesbian porn film culture can be understood.” In this space, “domi-
nant notions of gender and sexuality are challenged” (Ryberg 2013, 148).
I demonstrate that, by the end of Las hijas del fuego, chrono-normativity
is challenged, and both the viewer and the subjects represented in the film
enter into “nonnormative logics and organizations of community, sexual
identity, embodiment, and activity in space and time” (Halberstam 2005,
6). These temporalities exist outside of the postmodern, bourgeois time
frames of reproduction, productivity, and inheritance.
6 J. A. KROLL

Intersex Signifying at the Margin

While Chaps. 2 and 3 deal with queer signifying in Martel’s Salta trilogy,
and lesbian optics and queer space/time in Carri’s Las hijas del fuego,
Chap. 4 turns its attention to four Latin American films focusing on inter-
sex characters: Both (Dir. Lisset Barcellos, 2005), XXY (Dir. Lucía Puenzo,
2007), El último verano de la Boyita (Dir. Julia Solomonoff, 2009), and
Yo, imposible (Dir. Patricia Ortega, 2018). Discussing the first three films,
I focus on childhood as a locus for imploding static gender categories and
sex and gender dichotomies. I argue that Both constructs liminal spaces of
instability where gender and sexual dichotomies are loosened, and in
which new paradigms for free sexuality and expressive, unbounded bodies
are formed. While Both meditates on the relationship between gender and
sexuality—and argues against unnecessary medical interventions on inter-
sex children—XXY shows the forms of violence that can befall intersex
bodies. XXY also reveals the harmful effects of strict gender and sexual
roles for teenagers who do not fit into previous generations’ normative
medical and sociocultural categories. The film demonstrates that common
ground exists for teens who grapple with homophobia and those that deal
with intersex discrimination. El último verano de la Boyita also counters
intersex discrimination by showing a successful gender-indeterminate nat-
ural space constructed by a little girl and an intersex child in the Argentinean
pampas. I analyze the types of gaze that contribute to this space and
engage with concepts of queer childhood as “growing sideways” in Latin
American cinema (Bond Stockton 2009; Martin 2013). Turning to the
fourth film, Yo, imposible, I argue that the film exhibits queer sensibility
when it comes to the relationship between biological sex and gender and
sexual identities. Rejecting phallocentrism, Yo imposible—similar to Both,
El último verano de la Boyita, and XXY—constitutes a third cinema act of
political activism by raising awareness and providing new models of bodily
acceptance, gender fluidity, and sexual preference as part of a continuum
instead of binaries of sex and gender.

Poetic Documentary and Bodily Absence

Chapter 5 shifts attention to representations of the body as absence, as
haunting, and as the uncanny in Tempestad (2016), directed by Tatiana
Huezo. Addressing the ongoing tragedies of gendered violence, femicide,
and corruption in Mexico, Salvadoran/Mexican director Huezo created a
 1 INTRODUCTION 7

poetic documentary that tells the stories of two Mexican women who dis-
appeared. Twenty-year-old college student Mónica Alejandrina Ramírez
Alvarado disappeared on her way to drop off an assignment at the
Universidad Nacional Autónoma de México (UNAM) in Mexico City on
December 14, 2004. Miriam Carbajal Yescas effectively disappeared when
she was arrested on March 2, 2010, under false charges of participating in
human trafficking while working at the Cancún airport. Held for months
in a clandestine prison run by the Gulf Cartel 2000 kilometers away in
Matamoros, Tamaulipas, Miriam was threatened, beaten, and deprived of
food and water, and her family was extorted. Though Miriam was eventu-
ally released, she suffers from psychological trauma and her public reputa-
tion has been damaged, despite the fact that the charges against her were
unsubstantiated and she was never convicted of a crime.
To portray the haunting absence left in the wake of the women’s disap-
pearances, Tempestad presents the audio track of just one side of a testimo-
nial interview, which can be heard while images of everyday activities
occupy the screen. As Mónica’s mother, Adela, and Miriam herself narrate
their experiences, images from everyday life evoke the absence of Adela’s
daughter and the psychological trauma that Miriam felt when she was
imprisoned. Tempestad creates an oneiric style that conveys absence by
presenting action with no sound or the disembodied, acousmatic sound
with no visible referent. In this process, the viewer participates in experi-
encing the loved one’s absence and the film works toward the “getting
closer” (Ahmed 2004, 130), reciprocity, and love that Sara Ahmed
describes as functions of “affective economies, where feelings do not
reside in subjects or objects, but are produced as effects of circulation”
(Ahmed 2004, 8). This new signifying economy disrupts hegemonic rep-
resentation. Disruption is accomplished via what film phenomenology
would deem the film’s lived body in which “cinema uses modes of embodied
existence (seeing, hearing, physical and reflective movement) as the vehi-
cle, the ‘stuff,’ the substance of its language” (Sobchak 1992, 4). The
cinematic apparatus and the film function as permeable screens, doors, and
windows facilitating contact with the audience’s body, senses, and
perception.
In addition to the work of embodiment in Tempestad, I argue that the
sinister specter of trauma haunts Miriam. Using haptic visuals and acous-
matic sound, the film etches this trauma onto the viewer’s physiology as
8 J. A. KROLL

well. Ultimately, the trauma becomes an uncanny presence when the

viewer is shown an unsettling, familiar yet unfamiliar disabled body at the
end of the film.

Trans Embodiment in Chile and Brazil

The last chapter, Chap. 6, examines embodied existence as resistance in
the Chilean film Una mujer fantástica (2017), directed by Sebastián Lelio
and Bixa Travesty (2018), a charismatic Brazilian documentary directed by
Claudia Priscilla and Kiko Goifman. Both films resist the marginalization
of trans people and forge pathways toward acceptance in various public
and private spaces and the embodying of new sex and gender paradigms.
Una mujer fantástica stars trans actress Daniela Vega as Marina, a trans
woman who has just moved in with her middle-aged lover, Orlando. When
Orlando suffers an aneurysm in the middle of the night and subsequently
dies at the hospital, Marina faces a range of transphobic behaviors that
build from microaggressions to harassment and assault. The film inverts
stereotypes of the “pathetic transsexual” or the male-to-female transsexual
whose gender performance must at some point disappear in order for
their/his actual manhood to be discovered. Instead, Marina continues to
assert her dignity, and in the process, she traverses countercultural space
and normative culture, occupying intersections of gender and social class.
Finally, Marina is haunted by Orlando’s ghost. The viewer, standing with
Marina and looking out onto the world, is able to access an approximation
of the transgender gaze, which touches the viewer through the skin of the
film to create mutual affect—looking and feeling via the film and the phys-
ical apparatus of representation, including Vega’s body and gaze.
Whereas Marina occupies a middle-class, white trans identity that some
say translates well to international film festival audiences (Schoonover and
Galt 2016), Bixa Travesty uses filmed performances and interviews to doc-
ument Black Brazilian trans artist Linn da Quebrada’s bold deconstruc-
tion of sex and gender. Da Quebrada, who is from a poor neighborhood
on the far east side of São Paolo, critiques the machismo of typical Brazilian
funk music and Brazilian society. As part of her resistance, she constructs
a feminine persona and transvestite stage act with her performing partner,
Jup do Bairro, and her producer, a queer woman named BadSista.
Combining observational documentary, interviews, and filmed perfor-
mances, Bixa Travesty compiles a tapestry in which an alternative mode of
signifying comes into view, one in which transmisogyny is rejected in favor
 1 INTRODUCTION 9

of bodies that do not need to adhere to the cultural ideal of femininity-as-­

masquerade. Da Quebrada’s subversive potential is underscored in her
reflections on what it means for a Black “fag” and trans person raised in
the favela to perform Brazilian funk music. Whether or not her peripheral
position is centered by the end of the film, da Quebrada nonetheless
exudes wry wit from the margin of Brazilian national identity, which has
long sidelined gender and sex non-conforming behaviors (Lewis 2013).
The result of analyzing affect, embodiment, and queer conjugations of
theory and practice in the films that I discuss in this book is a rupture in
our understanding of existing representational modes, the exploration of
new ways to exist in the world, and a renewed impetus for social change in
trans-subjective communities. Ghosts, trauma, and repressed content of
history begin to step into the light, and they become acknowledged and
represented in physical form. When we find new ways to signify and we
begin to feel together what is happening around us through our bodies
and senses, we advance toward justice and ethical engagement with one
another, both in today’s world and in contiguous temporalities and cul-
tural landscapes.

Notes
1. By “global cinema,” I am referring to the cinemas of major cultural centers
outside of Hollywood. I recognize, however, that terms like “world cinema”
can include films made outside of Hollywood and outside of Western modes
of production and representation. Conversely, world cinema is often consid-
ered to have multiple centers, including Asian cinema, Indian cinema,
Nigerian cinema or Nollywood, European cinema, and Hollywood cinema.
These constitute five nodes of production in a polycentric understanding of
world cinema (Nagib 2006). This is different from “third cinema,” which is
part of an anti-neocolonialist and anti-capitalist “third world” cinema that
usually focuses on films from Latin America and Africa. Within this model,
Hollywood cinema would be considered “first cinema,” whereas artistic
films, often associated with European arthouse cinema and independent film
festival circuits, are closely tied to “second cinema.”
2. In 2020, Argentina passed further legislation that stipulated a 1 percent
trans and travesti employment quota in the public sector. In 2021, these
protections were expanded to include economic incentives for trans and
travesti-owned businesses. See “Por decreto” (2020) and Valente (2021).
3. Apparitionality is a concept in queer theory, particularly lesbian literary stud-
ies, cultural studies, and film theory, in which the presence of the lesbian is
10 J. A. KROLL

a not-quite-visible phenomenon that can be made visible or invisible,

depending on who is looking and how they are looking (and we can say, by
extension, when they are looking and why they are looking). The optics of
looking become important for revealing, as if from a filmic negative, the
ghostly presence or “apparition” of the culturally marginalized and histori-
cally erased lesbian (or, for the interests of study at hand, queer) entity.
Terry Castle’s seminal work on apparitionality (Castle 1993) is a crucial
resource for further reading, and Sophie Mayer’s discussion of lesbian appa-
ritionality and the dynamics of looking in queer cinema is also helpful here
(Mayer 2015).

Works Cited
Ahmed, Sara. 2004. The Cultural Politics of Emotion. New York: Routledge.
Ahmed, Sarah. 2006. Queer Phenomenology: Orientations, Objects, Others. Durham,
NC: Duke University Press.
Bixa Travesty. 2018. Directed by Kiko Goifman and Claudia Priscilla. Vimeo.
https://vimeo.com/ondemand/bixatravesty. Accessed 20 November 2020.
Bond Stockton, Kathryn. 2009. The Queer Child, or, Growing Sideways in the
Twentieth Century. Durham: Duke University Press.
Bordwell, David. 1986. Classical Hollywood Cinema: Narrational Principles and
Procedures. In Narrative, Apparatus, Ideology: A Film Theory Reader, ed.
Philip Rosen, 17–34. New York: Columbia University Press.
Both. 2005. Dir. Lisset Barcellos. Vimeo. https://vimeo.com/68928530.
Accessed 18 August 2020.
Castle, Terry. 1993. The Apparitional Lesbian: Female Homosexuality and Modern
Culture. New York: Columbia University Press.
Conway, Mary T. 1997. Spectatorship in Lesbian Porn: The Woman’s Woman’s
Film. Wide Angle 19 (3): 91–113. https://doi.org/10.1353/wan.1997.0011.
Accessed 12 August 2020.
de Lauretis, Teresa. 2011. Queer Texts, Bad Habits, and the Issue of a Future.
GLQ 17 (2–3): 243–263.
El último verano de la Boyita. 2009. Dir. Julia Solomonoff. Cameo Media,
2008. DVD.
Foster, David William. 2015. Queer Couples in Señora de nadie (María Luisa
Bemberg, 1982). In Despite All Adversities: Spanish-American Queer Cinema,
ed. Andrés Lema-Hincapié and Debra A. Castillo, 19–30. Albany: State
University of New York Press.
Halberstam, Judith. 2005. In a Queer Time & Place: Transgender Bodies,
Subcultural Lives. New York: New York University Press.
La ciénaga. 2001. Directed by Lucrecia Martel. Home Vision Entertainment, 2005
 1 INTRODUCTION 11

La mujer sin cabeza. 2008. Directed by Lucrecia Martel. Focus Features

International, 2008.
La niña santa. 2004. Directed by Lucrecia Martel. HBO Films, 2005.
Las hijas del fuego. Directed by Albertina Carri, 2018. Amazone Prime/MUBI.
https://www.amazon.com/gp/video/detail/0MW7N9N25GOT5I7XZ8
NV1RR5Q8/ref=imdbref_tt_wbr_pvc_mubi?tag=imdbtag_tt_wbr_pvc_
mubi-­20. Accessed 14 July 2020.
Lewis, Vek. 2013. Thinking Figurations Otherwise: Reframing Dominant
Knowledge of Sex and Gender Variance in Latin America. In The Transgender
Studies Reader 2, ed. Susan Stryker and Aren Z. Aizura, 457–470. New York:
Routledge.
Martin, Deborah. 2013. Growing Sideways in Argentine Cinema: Lucía Puenzo’s
XXY and Julia Solomonoff’s El último verano de la boyita. Journal of Romance
Studies 13 (1): 34-48.
Mayer, Sophie. 2015. Uncommon Sensuality: New Queer Feminist Film/Theory.
In Feminisms, ed. Laura Mulvey and Anna Backman Roger. Amsterdam:
Amsterdam University Press.
Merleau-Ponty, Maurice. 1992. Phenomenology of Perception. 1945. Trans. Colin
Smith. London and New York: Routledge.
Metz, Christian. 1977. The Imaginary Signifier: Psychoanalysis and the Cinema.
Trans. Celia Britton et al. Bloomington, IN: Indiana University Press.
Mulvey, Laura. 1975. Visual Pleasure and Narrative Cinema. In Literary Theory:
An Anthology, ed. Julie Rivkin and Michael Ryan, 585–595. Malden, MA:
Blackwell, 2000.
Nagib, Lúcia. 2006. Towards a Positive Definition of World Cinema. In Remapping
World Cinema: Identity, Culture and Politics in Film, 30–37. New York:
Wallflower Press.
Por decreto: el Gobierno estableció un cupo laboral para travesties, transexuales y
transgénero. 2020. Infobae. https://www.infobae.com/politica/2020/09/
04/por-­d ecreto-­e l-­g obierno-­e stablecio-­u n-­c upo-­l aboral-­p ara-­t ravestis-­
transexuales-­y-­transgenero/. Accessed 4 March 2022.
Ryberg, Ingrid. 2013. ‘Every Time We Fuck, We Win’: The Public Sphere of
Queer, Feminist, and Lesbian Porn as a (Safe) Space for Sexual Empowerment.
In The Feminist Porn Book: The Politics of Producing Pleasure, ed. Tristan
Taormino, Celine Parreñas Shimizu, Constance Penley, and Mireille Miller-­
Young, 140–154. New York: Feminist Press at the City University of New York.
Schoonover, Karl, and Rosalind Galt. 2016. Queer Cinema in the World. Durham,
NC: Duke University Press.
Sobchak, Vivian. 1992. The Address of the Eye: A Phenomenology of Film Experience.
Princeton: Princeton University Press.
———. 2004. Carnal Thoughts: Embodiment and Moving Image Culture.
Oakland, CA: University of California Press.
12 J. A. KROLL

Tempestad. 2016. Directed by Tatiana Huezo. Cinephil, 2016. https://video.

alexanderstreet.com/watch/tempestad. Accessed 16 November 2020.
Una mujer fantástica. 2017. Directed by Sebastián Lelio. Sony Pictures
Classics. ProQuest.
Valente, Marcela. 2021. Transgender job quota law seen ‘changing lives’ in
Argentina. Reuters. https://www.reuters.com/article/argentina-­lgbt-­lawmaking/
transgender-­job-­quota-­law-­seen-­changing-­lives-­in-­argentina-­idUSL5N2O72DH.
Accessed 14 March 2022.
XXY. 2007. Dir. Lucía Puenzo. Amazon Prime Video.
Yo, imposible. 2018. Dir. Patricia Ortega. Amazon Prime.
 CHAPTER 2

Lesbian Pathology and Monstrous Maternity

in Lucrecia Martel’s Salta Trilogy

With her debut feature film La ciénaga (2001), Argentine director

Lucrecia Martel distinguished herself from other New Argentine Cinema
directors, thus establishing her status as an auteur of exceptional original-
ity and sociological acumen. The opening sequence of La ciénaga reveals
this uncommon vision: emerging as if from a historical and political
morass, zombie-like figures shuffle into frame clad in bathing suits, their
cellulite and stretch marks clearly visible as they are tightly framed from
thighs to shoulders (Fig. 2.1). Their sluggish progression is accompanied
by the screech of metal lawn chairs raked over patio cement, which assaults
the viewer. A murky swimming pool provides backdrop for these inebri-
ated middle-aged family members who loll at their dilapidated estate in
Salta, Argentina, in the 1980s.
If the lethargic denizens of the lapsed La Mandrágora country home in
La ciénaga display imperfections—scars that are analogous to those of a
nation struggling to recuperate its identity after a traumatic dictatorship—
then their appearance also signals the disruption that Martel’s Salta Trilogy
(La ciénaga 2001; La niña santa 2004; La mujer sin cabeza 2008) brought
to Latin American cinema. In terms of both cinematic style and content,
Martel’s films challenge expectations about narrative cinema centered on
middle-class Argentineans. In the process, they generate new cinematic
representations of bodies, gender, and sexuality.

© The Author(s), under exclusive license to Springer Nature 13

Switzerland AG 2022
J. A. Kroll, Body, Gender, and Sexuality in Latin American Cinema:
Insurgent Skin, Palgrave Studies in (Re)Presenting Gender,
https://doi.org/10.1007/978-3-030-84558-2_2
14 J. A. KROLL

Fig. 2.1 Middle-aged family members creep into frame in La ciénaga’s opening
sequence. (Amazon Prime Video)

The Salta Trilogy creates space for revolutionary discourse about bod-
ies, gender, and sexuality via unconventional imagery and signifying prac-
tice. This includes unusual representations of bodies on screen and tactics
that activate the viewer’s senses. Close framing of characters and the use of
non-causal sequences defy classical Hollywood conventions. Meanwhile,
acoustic effects disorient the viewer and haptic/tactile emphases on char-
acters’ minute bodily contacts and sensations produce unexpected viewer
responses ranging from startle to revulsion. This combination of methods
scaffolds the Salta Trilogy’s groundbreaking contribution of providing a
roadmap for queer representation and for potential activation of the
viewer. In analyzing these films, I understand queer cinema as that which
includes LGBTQI1 characters and themes, that which openly critiques
heterosexist social norms and institutions and patriarchal constructs, and/
or that which defies classical cinematic conventions to imagine resistant
discourse and new representational modes.2 My readings build upon stud-
ies of the phenomenology of the body in cinema including theories of the
haptic or tactile effects, employing ideas from Steven Shaviro, Laura
U. Marks, and Jennifer M. Barker, and studies of acousmatic sound in
cinema by Michel Chion and Matt Losada. Affect theory as it relates to
cinema also informs my analyses, including work by theorists such as Silvan
Tomkins, Martine Beugnet, and Eugenie Brinkema. Ultimately, I argue
that Martel’s Salta Trilogy presents a progression from (1) positing the
 2 LESBIAN PATHOLOGY AND MONSTROUS MATERNITY IN LUCRECI… 15

problematics of lesbian desire and heterosexual motherhood in La ciénaga

to (2) exploring strategies for resisting heteronormative optics and being
positioned as a passive object of the male gaze (Laura Mulvey) in La niña
santa and (3) activating the viewer’s own capabilities of critical analysis
and participation in the construction of meaning in La mujer sin cabeza.
The three films work toward the critical activation of the spectator, and
they compel us to explore new queer signifying practices and sensibilities
that are at once aesthetically evocative and powerfully disruptive.

Locating Martel: The Nexus of New Queer Cinema

and New Argentine Cinema

Martel’s cinematic practice was honed concurrent with multiple late-­

twentieth-­century developments in world cinema. Most relevant among
these are the flourishing of gay and lesbian-themed cinema that B. Ruby
Rich deemed a New Queer Cinema (Rich 1992), and the mid-to-­
late-­1990s resurgence of cinema in Argentina that is commonly referred
to as New Argentine Cinema. Rich coined “New Queer Cinema” to
describe the political, witty and acerbic, low budget, gay-themed films of
the 1980s and 1990s. International in scope but associated with the
United States and Western Europe, New Queer Cinema responded to the
AIDS crisis and developed in tandem with the increased availability of the
camcorder as a portable and accessible technology.
During the New Queer Cinema movement, queer cinema in Argentina
was an art form in the making, with gay themes often embedded in
Hollywood-style narratives. The demand for viewer-friendly, marketable
films during the 1980s and 1990s meant that the handful of overtly gay-­
themed Argentine films of these decades showed relatable characters navi-
gating domestic situations while struggling with their sexual identities.
This included films like Adiós, Roberto (Dir. Enrique Dawi, 1985) and
Otra historia de amor (Dir. Américo Ortiz de Zarate, 1986), in which
closeted middle-class men deal with same-sex attraction. Another gay-­
themed film, Bajo Bandera (Dir. Juan José Jusid, 1997), openly dealt with
the AIDS crisis. Soon the combination of state funding, the desire to rep-
resent a wider array of Argentinean experiences on screen, and the positive
reception from international film critics created conditions for New
Argentine Cinema, and New Queer Argentine Cinema closely followed.3
Tamara L. Falicov describes the mid-1990s development of indepen-
dent Argentine cinema in The Cinematic Tango (2007); Gonzalo Aguilar
16 J. A. KROLL

analyzes the movement in depth in New Argentine Film: Other Worlds

(2008).4 New Argentine Cinema was fueled by uncertainty and the need
for new representational modes. The nation was recovering from the mili-
tary dictatorship of 1976–1983, during which thousands of citizens were
jailed, tortured, and murdered, and children were surreptitiously adopted
in the wake of their parents’ disappearances.5 The return to democracy in
the mid-1980s resulted in a cinematic impulse to document recent national
events in films such as Luis Puenzo’s La historia oficial (1985), but cine-
matic production slowed.
It wasn’t until the early to mid-1990s that three crucial events resusci-
tated what had been an internationally recognized national cinema since
the Nueva Ola of the 1960s.6 The first event was the establishment of
cinema schools in Buenos Aires, most importantly the Universidad del
Cine. Second, the New Cinema Law of 1994 created a funding stream for
Argentina’s Instituto Nacional de Cine y Artes Audiovisuales (INCAA),
which organizes the Mar del Plata International Film Festival. Finally, a
short film contest founded in 1995, Historias breves, provided a forum in
which new filmmakers like Martel could bring projects to fruition and
exchange ideas with other young intellectuals such as Adrián Caetano,
Daniel Burman, and Bruno Stagnaro. While many 1980s and 1990s films
were Hollywood-inspired, audience-pleasing fare, an independent spirit
emerged in films that used extended takes and verité style. In the wake of
the 1990 political amnesty, which granted impunity to many of the partici-
pants in Argentina’s dictatorship, these independent films included verité
sequences that revealed the everyday tragedy of economic hardship, using
techniques that seemed inspired by both Italian neorealism and documen-
tary style.7 Director Martín Rejtman’s Rapado (1992), for example, por-
trayed a teenager who seeks to steal a motorcycle after his own motorcycle
is pilfered—a plot that is reminiscent of the Italian neorealist classic Ladri
di Biciclette (Dir. Vittorio DeSica, 1948). Pizza, birra, faso (Dir. Adrián
Caetano and Bruno Stagnaro, 1998), for its part, depicted a group of
young thieves in Buenos Aires, and Mundo grúa (Dir. Pablo Trapero,
1999) traced the plight of an unemployed Buenos Aires musician who
tries to make a living by working in construction in Patagonia.
While this first wave of New Argentine Cinema addressed the schism
with Argentina’s past in low-budget films dealing with coming of age and
the working class, the same state-sponsored funding sources that helped
finance these films also facilitated the success of Martel’s first feature-­
length screenplay. La ciénaga’s screenplay won the 1999 Sundance
 2 LESBIAN PATHOLOGY AND MONSTROUS MATERNITY IN LUCRECI… 17

Institute/NHK Award for independent filmmakers and went on to pro-

cure additional funding (Martin 2016, 2). Unlike the close predecessors
mentioned above, with La ciénaga, Martel referenced the moral failings of
recent Argentine history, portraying a middle-class family’s moral deca-
dence via the actual physical decay of their country estate in the north-
western province of her native Salta. In so doing, she created the first in a
revolutionary trilogy of films based in Salta that both emerge from New
Argentine Cinema and form cornerstones of New Queer Argentine cinema.

New Queer Argentine Cinema

Latin American queer cinema has reflected the nonconformity and radical
sexual and sociological difference of global New Queer Cinema, from the
cross-dressing La Manuela (Roberto Cobo) who performs for men in the
Mexican film El lugar sin límites (Dir. Arturo Ripstein, 1978) to the
unlikely gay-straight friendship of the Cuban film Fresa y chocolate (Dir.
Tomás Gutiérrez Alea and Carlos Tabío, 1993). “Butch” women like
María Félix and machorras (also called marimachos: lesbians, women who
are masculine) populate Mexican Golden Age cinema and cabaret or fich-
era films (Lema-Hincapié and Castillo 2015, 3–4), gay characters appear
in the Brazilian pornochanchada (low-budget sex comedies) genre and in
carnaval’s inversions of societal norms involving gender. Gay relationships
are portrayed in the films of Mexican screenwriter/director Julián
Hernández and homoerotic tension pervades many of internationally
known Mexican actor/director Gael García Bernal’s most famous roles.
You would not be alone in thinking that these films, cinematic genres, and
forms of cultural expression sound entertaining and commercially viable.
Latin American queer cinema historically has been relatively economically
viable while maintaining a certain sociopolitical edginess. In the twenty-­
first century, on the other hand, world cinema markets are seeing increases
in international co-productions featuring gay and lesbian characters that
normalize homosexuality, without the edge of an overtly political mes-
sage. Portraying gays and lesbians as having similar values and wanting the
same things as middle-class heterosexuals paradoxically reaches main-
stream audiences in ways that New Queer Cinema did not. One sociologi-
cal effect is that the success of mainstream global queer cinema has
contributed to greater acceptance of same-sex marriage and equal rights
for transgender and intersex people, which is an evolving issue in Latin
America.8
18 J. A. KROLL

Mainstream audience-oriented queer films notwithstanding, new queer

subjects have appeared concurrent with an increase in international co-­
productions, thus facilitating an era of filmic innovation that defies con-
ventions (Shaw 2013). This includes the films of Martel, who worked with
producer Lila Stantic on all three Salta Trilogy films. She also collaborated
with executive producers Pedro Almodóvar, Agustín Almodovar, and
Esther García on La niña santa and La mujer sin cabeza. Deborah Shaw
refutes the assertion that international funding constitutes a neo-­colonialist
gesture, saying that international funding streams do not make films less
“Argentinean” (for example). Rather, Shaw argues that international
backing ensures that films will be made at the highest level and that inter-
national audiences will see them.9 “Rather than seeing European funding
for these cases as neo-colonial forms of cultural imperialism,” Shaw asserts
that “these programmes also create spaces for queer art films. These films
along with a number of others are responding to social, political and cul-
tural shifts in many countries of the world, redefinitions of the family unit,
and an increase in social rights for gays, lesbians and transgender people”
(Shaw 2013, 178).
It is in this era of multinational funding for Argentine films (since the
year 2000) that New Queer Argentine Cinema (NQAC) and Martel as an
auteur have flourished. Argentina has one of the most groundbreaking,
critically acclaimed queer cinemas in the world. NQAC occurred at the
apex of the international, New Queer Cinema movement of the 1980s and
1990s and during the first wave of New Argentine Cinema. Initially, many
gay-themed Argentinean films were straightforward narratives about com-
ing to terms with homosexual desires—films such as Apariencias (Dir.
Alberto Lecchi, 2000) and Plata quemada (Dir. Marcelo Piñeyro, 2001).
But there were also films that showed the rougher side of things. Both
Verónica Chen’s Vagón Fumador (2001) and Edgardo Cozarinzky’s
Ronda nocturna (2005) revolve around characters who are male prosti-
tutes—a marginalized figure that occasionally appeared in Latin American
gay cinema of the twentieth century. Innovative NQAC films, on the other
hand, began to insist on a visibly queer orientation of characters along
with a political message and/or original artistic vision, as evidenced in
films by Diego Lerman, Anahí Berneri, Martel, Albertina Carri, and
Marco Berger.
To better understand the trends that form tangents with Martel’s films,
it is useful to delineate the high-quality films that appeared within a few
years of the Salta Trilogy. Diego Lerman’s surprising film about lesbian
 2 LESBIAN PATHOLOGY AND MONSTROUS MATERNITY IN LUCRECI… 19

desire and homosocial bonding, Tan de repente (2002), appeared the year
after La ciénaga, whereas Un año sin amor (Dir. Anahí Berneri, 2005),
about an AIDS-stricken writer who seeks connection through BDSM ritu-
als, was released just after Martel’s La niña santa. Alexis Dos Santos made
Glue (2006), a film about sexual exploration among a group of friends. La
León (Dir. Santiago Otheguy, 2007) depicted the relationship of a gay
field worker with a local tough guy in northern Argentina, while José
Campusano’s Vil romance (2008) explored the theme of homosexual rela-
tionships and violence in Buenos Aires. Continuing to interrogate queer
subjectivities, Lucía Puenzo released the acclaimed intersex-themed film
XXY in 2007 and a coming-of-age film with lesbian protagonists, El niño
pez, in 2009—the same year in which Julia Solomonoff’s gender noncon-
formist coming-of-age film El último verano de la Boyita appeared.
Albertina Carri’s films dared to explore sexual taboos like incest (Géminis
2005) and showed explicit scenes of female nudity and lesbian sexuality in
Las hijas del fuego (2018). Meanwhile, Marco Berger’s romantic framing
of the male body (James 2016) in Plan B (2009), Ausente (2011), and
Hawaii (2013) has been a solid presence in NQAC of the twenty-first
century. This varied and diverse selection of Argentinean queer films rep-
resents a panorama of LGBTQI perspectives.
The proliferation of queer Argentine cinema has been connected to the
rise of international co-productions and to the crafting of the auteur
writer/director as a marketable, recognizable entity (Shaw 2013). Within
this realm of recognizable auteurs, we locate Martel, whose cascade of
auburn hair and prominent cat-eye glasses set her apart during interviews
and on film festival circuits. The growth of international funding and dis-
tribution for Latin American film and the curating of Martel’s iconic image
were timely developments, especially considering Argentina’s economic
crisis, which crippled the country from 1998 to 2002 and beyond. In this
sociopolitical context in Argentina, queer cinema has been used to criti-
cize both failing economic paradigms and heterosexist sociological struc-
tures. Rosalind Galt recognizes queer cinema as a vehicle for expressing
resistance to neoliberal economics, and she draws a parallel between queer
cinema’s refusal to signify and debtor nations’ (such as Argentina’s) refusal
to pay their international debts. For Galt, both tactics form part of resis-
tance strategies in the face of unjust neoliberal capitalism (Galt
2013, 62–65).
Considering queer cinema’s critique of heterosexist paradigms, various
critics delineate the forms of patriarchy, sexism, and heteronormative
20 J. A. KROLL

mores that queer cinema destabilizes. Teresa de Lauretis sees queer poten-
tial in the transgressive nature of what she calls arthouse cinema. She
explains

I may provisionally call queer a text of fiction—be it literary or audiovisual—

that not only works against narrativity, the generic pressure of all narrative
toward closure and fulfillment of meaning, but also pointedly disrupts the
referentiality of language and the referentiality of images, what Pier Paolo
Pasolini, speaking of cinema, called “the language of reality.” (de Lauretis
2011, 244)

Karl Schoonover and Rosalind Galt (2016) describe the unpredictable

relationships and affective response that queer cinema makes possible, say-
ing that “the affective register of world cinema opens up potentialities for
queer cathexes that become transnational, reaching out in unpredictable
directions” (Schoonover and Galt 2016, 166). David William Foster char-
acterizes queer sensibility as “that which transgresses the entire array of
norms of the heterosexist patriarchy, not just the erotic ones” (Foster
2015, 28). Along these lines, the queer cinema of Martel’s Salta Trilogy
counters the classical Hollywood cinema tropes that David Bordwell elu-
cidates. These include the use of psychologically well-defined characters
and clear-cut obstacles and goals, the privileging of causality, frequent use
of two parallel plot lines, chronological sequencing, resolution of conflict,
spatial realism and the primacy of the visual, and more (Bordwell 1986).
As we shall see, Martel’s Salta Trilogy is queer in its inclusion of lesbian
characters (La ciénaga and La mujer sin cabeza) and homosocial bonding
(La niña santa), queer in its “rejection of Christian, patriarchal and femi-
nist moral belief systems” (Shaw 2013, 174), and queer in its lack of
adherence to classical Hollywood conventions in favor of new signify-
ing modes.

The Salta Trilogy

Martel’s Salta Trilogy has been read as a critique of Argentinean history
and the bourgeois class (Moraña 2011) and as a way of focusing non-­
normative sexuality and desires (Forcinito 2006; Molloy 2017). Galt
claims that “Martel’s films stage queerness obliquely in terms of inchoate
opposition and tentative connection. They are not ebullient love stories,
coming-out dramas or other such positive narrations of sexual identity.
Instead, they unsettle temporality, identity and relationality, positing
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Alexander Hamilton, but the unconquerable courage and
determination that were his dominating characteristics. The vividness
with which it vitalizes the history of its period and the power with
which it emphasizes Hamilton’s most admirable and desirable
quality, make it most suitable for school use, for which special terms
have been arranged, as above. Strongly recommended.
Price, 60 cents
CHARACTERS
Alexander Hamilton.
General Schuyler.
Thomas Jefferson.
Monroe.
Giles.
Tallyrand.
Jay.
Zekiel.
Reynolds.
Colonel Lear.
First Man.

Betsy Hamilton.
Angelica Church.
 Mrs. Reynolds.
Soldier’s Wife.
Melissa.
THE SCENES
Act I.—The Exchange Coffee House in Philadelphia.
Act II.—A room in Alexander Hamilton’s house in Philadelphia. (The office of the
Secretary of the Treasury.)
Act III.—The same. (Six weeks later.)
Act IV.—A reception room in Alexander Hamilton’s house. (The next morning.)

THE MINUTE MAN

A Patriotic Sketch for Girls of the High School Age in
a Prologue and Three Episodes
By Nellie S. Messer
Thirteen girls. Costumes, modern, Colonial and of the Civil War
period. Scenery, three interiors. Plays an hour and a half. Betty and
Eleanor, typically thoughtless girls of the present day, run across the
diaries of Bess’s mother and grandmother, which relate the
experiences of girls of their age and kind at previous periods of their
country’s history, and learn a vivid lesson in patriotism. The scenes
of the past are shown in dramatic episodes visualizing the matter of
the diaries that they read. A very clever arrangement of a very
stimulating subject, strongly recommended for all occasions where
the promotion of patriotism is desired. A timely lesson strongly
enforced.
Price, 25 cents
 A. W. Pinero’s Plays
Price, 60 Cents Each

Play in Four Acts. Six males, five females.

MID-CHANNEL Costumes, modern; scenery, three
interiors. Plays two and a half hours.

THE NOTORIOUS MRS.

EBBSMITH
Drama in Four Acts. Eight males, five females. Costumes, modern; scenery,
all interiors. Plays a full evening.
Play in Four Acts. Seven males,
THE PROFLIGATE five females. Scenery, three
interiors, rather elaborate; costumes, modern. Plays a full evening.
Farce in Three Acts.
THE SCHOOLMISTRESS Nine males, seven
females. Costumes, modern; scenery, three interiors. Plays a full evening.
Pl
THE SECOND MRS. TANQUERAY ay
in Four Acts. Eight males, five females. Costumes, modern; scenery, three
interiors. Plays a full evening.
Comedy in Three Acts. Seven
SWEET LAVENDER males, four females. Scene, a
single interior; costumes, modern. Plays a full evening.
Comedy in Four Acts. Ten
THE THUNDERBOLT males, nine females.
Scenery, three interiors; costumes, modern. Plays a full evening.
Comedy in Four Acts. Six males, seven females.
THE TIMES Scene, a single interior; costumes, modern. Plays
a full evening.
Comedy in Three Acts. Eight
THE WEAKER SEX males, eight females. Costumes,
modern; scenery, two interiors. Plays a full evening.
Comedy in
A WIFE WITHOUT A SMILE Three Acts. Five
males, four females. Costumes, modern; scene, a single interior. Plays a full
evening.

Sent prepaid on receipt of price by

Walter H. Baker & Company
No. 5 Hamilton Place, Boston, Massachusetts
 The William Warren Edition of
Plays
Price, 25 Cents Each

Comedy in Five Acts. Thirteen males,

AS YOU LIKE IT four females. Costumes, picturesque;
scenery, varied. Plays a full evening.
Drama in Five Acts. Nine males, five females.
CAMILLE Costumes, modern; scenery, varied. Plays a full
evening.
Play in Five Acts. Thirteen males, three females.
INGOMAR Scenery, varied; costumes, Greek. Plays a full
evening.
Tragedy in Five Acts. Thirteen males,
MARY STUART four females, and supernumeraries.
Costumes, of the period; scenery, varied and elaborate. Plays a full evening.
Comedy in
THE MERCHANT OF VENICE Five Acts.
Seventeen males, three females. Costumes, picturesque; scenery varied.
Plays a full evening.
Play in Five Acts. Fifteen males, two females.
RICHELIEU Scenery, elaborate; costumes, of the period.
Plays a full evening.
Comedy in Five Acts. Nine males, five females.
THE RIVALS Scenery, varied; costumes, of the period. Plays
a full evening.
Comedy in
SHE STOOPS TO CONQUER Five Acts.
Fifteen males, four females. Scenery, varied; costumes, of the period. Plays
a full evening.
Comedy in Five Acts. Ten males, three females. Costumes, picturesque;
scenery, varied. Plays a full evening.
TWELFTH NIGHT; OR, WHAT YOU
WILL

Sent prepaid on receipt of price by

Walter H. Baker & Company

No. 5 Hamilton Place, Boston, Massachusetts
 Transcriber’s Notes
Changed landside to landslide in “I had been struck by a landslide”.
Changed Beech to Beach in “Palm Beach, Fla.”.
Changed air ship to air-ship in “Dr. Treadwell’s air-ship” for consistency.
The word land appears to be used as a euphemism for lawd or lord. This has not
been changed.
Minor punctuation changes have been made for consistency.
*** END OF THE PROJECT GUTENBERG EBOOK CAPTAIN
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