Skip to content
1981
Women in Screenwriting
  • ISSN: 1759-7137
  • E-ISSN: 1759-7145

Abstract

The films of Latin American female screenwriters, Lucrecia Martel (Argentina), Anna Muylaert (Brazil) and Claudia Llosa (Peru), have achieved international prominence in recent years. In this article we create new insights into the ways in which these screenwriters have developed scripts for films that have made a mark on the world stage. To this end we will investigate how this acclaim has been enabled by their screenwriting decisions which focus on the creation of women-centred films, as well as their use of the family story as a means of exploring contemporary social and political themes, to tell universal stories that highlight the global in the local. In doing so we canvas the personal, industrial and social factors which have impacted Martel, Muylaert and Llosa’s screenwriting careers which have been instrumental in the script development of the films: () (Martel 2001); ? () (Muylaert 2015); and La Teta Asustada () (Llosa 2009). The research for this article is based on personal and media interviews with the writers, as well as contemporary information available only in Spanish and Portuguese, as translated from the original Spanish and Portuguese by Clarissa Miranda.

Loading

Article metrics loading...

/content/journals/10.1386/josc_00037_1
2020-09-01
2024-06-16
Loading full text...

Full text loading...

References

  1. Arendt, H.. ( 1998), The Human Condition, Chicago, IL:: University of Chicago Press;.
    [Google Scholar]
  2. Barrow, S.. ( 2017;), ‘ Through female eyes: Reframing Peru on screen. ’, in D. Martin, and D. Shaw. (eds), Latin American Women Filmmakers Production, Politics, Poetics, New York:: I.B. Tauris;, pp. 4870.
    [Google Scholar]
  3. Benamou, C. L., and Marsh, L. L.. ( 2013;), ‘ Women filmmakers and citizenship in Brazil from Bossa Nova to the retomada. ’, in P. Nair, and J. Gutierrez-Albilla. (eds), Hispanic and Lusophone Women Filmmakers: Theory, practice and difference, Manchester:: Manchester University Press;, pp. 5471.
    [Google Scholar]
  4. Brenes, C. S.,, Cattryse, P., and McVeigh, M.. (eds) ( 2017), Transcultural Screenwriting: Telling Stories for a Global World, Newcastle upon Tyne:: Cambridge Scholars Publishing;.
    [Google Scholar]
  5. Clarke, C.. ( 2018;), ‘ Lucrecia Martel: the Oscars are a joke. ’, interview , The Guardian, 24 May.
    [Google Scholar]
  6. Correspondencias Cine y Pensamiento ( 2018;), ‘ Laberinto en el oído: Entrevista a Lucrecia Martel. ’, Dossier Sonorama, 5, http://correspondenciascine.com/dossiers/05-sonorama/. Accessed 25 January 2020.
    [Google Scholar]
  7. Dancyger, K.. ( 2001), Global Scriptwriting, Boston, MA:: Focal Press;.
    [Google Scholar]
  8. Deshpande, S., and Mazaj, M.. ( 2018), World Cinema: A Critical Introduction, New York:: Routledge;.
    [Google Scholar]
  9. Foster, G. A.. ( 2011;), ‘ La Ciénaga. ’, Senses of Cinema, 60, October, http://sensesofcinema.com/2011/cteq/la-cienaga/. Accessed 25 January 2020.
    [Google Scholar]
  10. Gamberini, M.. ( 2016;), ‘ La mujer en el cine latinoamericano: De minorías, miradas y cupos’ (‘Women in the Latin American cinema: Of minorities, ways of looking and quotas’). , Retina Latina , 17 November, https://www.retinalatina.org/la-mujer-en-el-cine-latinoamericano-de-minorias-miradas-y-cupos/. Accessed 25 January 2020.
  11. Gómez, L.. ( 2005;), ‘ El cine de Lucrecia Martel: La Medusa en lo recóndito. ’, Ciberletras: Revísta de Crítica Literátia y de Cultura, 13:July, pp. 8593.
    [Google Scholar]
  12. Hausmann, M.. ( 2012;), ‘ Claudia Llosa. ’, in I. Maurer Queipo. (ed.), Socio-Critical Aspects in Latin American Cinema(s): Themes-Countries-Directors-Reviews, Frankfurt:: Peter Lang;.
    [Google Scholar]
  13. Hayward, S.. ( 2000), Cinema Studies: The Key Concepts Second Edition, London and New York:: Routledge;.
    [Google Scholar]
  14. LaVanguardia ( 2017;), ‘ Claudia Llosa: creo en la capacidad sanadora del cine como cineaste y espectadora. ’, Vida , March, https://www.lavanguardia.com/vida/20170323/421126817627/festival--claudia-llosa-creo-en-la-capacidad-sanadora-del-cine-como-cineasta-y-espectadora.html. Accessed 27 January 2020.
  15. Lim, D.. ( 2018;), ‘ Film at Lincoln Center. La Ciénaga. Q&A. Lucrecia Martel. ’, YouTube , https://www.youtube.com/watch?v=sZC1vKmGQKs.
  16. Llosa, C.. ( 2009), La Teta Asustada (The Milk of Sorrow), DVD, Australia:: The Match Factory and Analogue Titles, distributed by Gryphon Entertainment;.
    [Google Scholar]
  17. Martel, L.. ( [2001] 2010), La Cienaga, DVD, UK:: ICA Films;.
    [Google Scholar]
  18. Martin, D., and Shaw, D.. ( 2017;), Latin American Women Filmmakers: production, politics, poetics, World Cinema Series. , UK:: Bloomsburry Publishing;.
    [Google Scholar]
  19. Maurer Queipo, I.. (ed.) ( 2012), Socio-Critical Aspects in Latin American Cinema(s): Themes-Countries-Directors-Reviews, Frankfurt:: Peter Lang;.
    [Google Scholar]
  20. McGrath, D., and MacDermott, F.. ( 2003), Screencraft: Screenwriting, Switzerland:: Rotovision;.
    [Google Scholar]
  21. McVeigh, M.. ( 2017;), ‘ Screenwriting San Frontieres: The writing of a transnational film and the key factors impacting on the creation of story in the film co-production scenario. ’, in C. S. Brenes,, P. Cattryse, and M. McVeigh. (eds), Transcultural Screenwriting: Telling Stories For a Global World, Newcastle upon Tyne:: Cambridge Scholars Publishing;, pp. 4768.
    [Google Scholar]
  22. McVeigh, M.. ( 2018;), ‘ Reading the transnational: The neo gothic as transnational post-feminist space in the films of Lucrecia Martel’s La Ciénaga and Jane Campion’s Sweetie. ’, Critical Arts South North Cultural and Media Studies, 31:5, pp. 14255.
    [Google Scholar]
  23. Muylaert, A.. ( 2015), Que Horas Ela Volta? (The Second Mother), DVD, Brazil:: Oscilloscope;.
    [Google Scholar]
  24. Muylaert, A.. ( 2019), Organization of Belisa Figueiró and Rafael Sampaio. ‘Que horas ela volta?’, São Paulo:: Klaxon;.
    [Google Scholar]
  25. Muylaert, A.. ( 2020), personal e-mail communication to authors , 30 March.
  26. Oubiña, D.. ( 2015;), ‘ La Ciénaga: What’s outside the frame?. ’ (trans. A. Thorngate.), Criterion Collection Essay, 26 January, https://www.criterion.com/current/posts/3444-la-ci-naga-what-s-outside-the-frame. Accessed 18 November 2020.
    [Google Scholar]
  27. Page, J.. ( 2009), Crisis and Capitalism in Contemporary Argentine Cinema, Durham and London:: Duke University Press;.
    [Google Scholar]
  28. Pécora, L.. ( 2018;), ‘ Lucrecia Martel: A pobreza do cinema latino é não representar a sociedade. ’, Mulher no Cinema, Entrevistas , March, https://mulhernocinema.com/entrevistas/lucrecia-martel-a-maior-pobreza-do-cinema-latino-americano-e-nao-representar-a-sociedade/.
  29. Pinazza, N.. ( 2015;), ‘ Class and gender in Muylaert’s A que horas ela volta? and Mãe só há uma. ’, Mediatico , http://reframe.sussex.ac.uk/mediatico. Accessed 18 February 2020.
  30. PUC Peru ( 2010;), ‘ La teta asustada- Claudia Llosa presenta el libro-guion en la PUCP. ’, YouTube , https://www.youtube.com/watch?v=OBY_tY5FKGQ. Accessed 20 February 2020.
  31. Punté, M. J.. ( 2016;), ‘ A voz como espaço do desejo em Made in USA e La Teta Asustada. ’, in Mostra de Cinema Mulheres em Cena, Rio de Janeiro:: Ministério da Cultura;, pp. 91103.
    [Google Scholar]
  32. Torres San Martín, P.. ( 2014;), ‘ Cineastas de América Latina: Desacatos de una práctica fílmica’ (‘Latin American cinema women: Contempts of a filmic practice’). , Femmes de cinema, Special Issue: ‘Cinémas d´Amerique Latine’ , 22, pp. 2437, https://journals.openedition.org/cinelatino/747. Accessed 15 February 2020.
    [Google Scholar]
  33. Veas, P.. ( 2015), in-person interview with L. Martel, laFuga . 15 January, http://lafuga.cl/lucrecia-martel/735. Accessed 15 February 2020.
  34. Vilchez, J. A.. ( 2014;), ‘ The body, the abject and horror in Claudia Llosa’s La Teta Asustada (2009). MA dissertation, Budapest:: Central European University;.
    [Google Scholar]
  35. Weinstein, A.. (ed.) ( 2017;), ‘ Writing from personal experience: A strategy of forward motion. An interview with Claudia Llosa. ’, in A. Weinstein. (ed.), Writing for the Screen, New York and London:: Routledge and Taylor and Francis;, pp. 18589.
    [Google Scholar]
  36. White, P.. ( 2015), Women’s Cinema, World Cinema Projecting Contemporary Feminisms, Durham and London:: Duke University Press;.
    [Google Scholar]
  37. Wisniewski, C.. ( 2009;), in-person interview with L. Martel. , Reverse Shot, 17 August, http://reverseshot.org/interviews/entry/938/interview_lucrecia_martel. Accessed 9 March 2020.
    [Google Scholar]
  38. Yeates, H.,, McVeigh, M., and van Hemert, T.. ( 2011;), ‘ From ethnocentrism to transculturalism: A globalised pedagogical journey. ’, Cultural Studies Review, 17:2, September, pp. 7199, http://epress.lib.uts.edu.au/journals/index.php/csrj/article/viewFile/2008/2484. Accessed 9 December 2019.
    [Google Scholar]
  39. McVeigh, Margaret, and Miranda, Clarissa Mazon. ( 2020;), ‘ How the scripts of Latin American screenwriters Lucrecia Martel (Argentina), Anna Muylaert (Brazil) and Claudia Llosa (Peru) have made a mark on the world stage. ’, Journal of Screenwriting, 11:3, pp. 331346, doi: https://doi.org/10.1386/josc_00037_1
    [Google Scholar]
/content/journals/10.1386/josc_00037_1
Loading
This is a required field
Please enter a valid email address
Approval was a success
Invalid data
An error occurred
Approval was partially successful, following selected items could not be processed due to error