Norteña rhapsodia: an essay on the pre-existing music in the Salta Trilogy, by Lucrecia Martel
This essay starts from a hermeneutic decoupage of the moments in which music intervenes in the films The swamp (La Ciénaga, 2001), The holy girl (La niña santa, 2004) and The headless woman (La mujer sin cabeza, 2008), by filmmaker Lucrecia Martel, known as the Salta Trilogy. Then, in dialogue with...
| Autores: | , , |
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2025 |
| País: | Brasil |
| Institución: | Pontifícia Universidade Católica do Rio Grande do Sul (PUCRS) |
| Repositorio: | Revista FAMECOS: Mídia cultura e tecnologia |
| Idioma: | portugués |
| OAI Identifier: | oai:ojs.revistaseletronicas.pucrs.br:article/45990 |
| Acceso en línea: | https://revistaseletronicas.pucrs.br/revistafamecos/article/view/45990 |
| Access Level: | acceso abierto |
| Palabra clave: | Lucrecia Martel Salta Trilogy pre-existing music. Trilogía de Salta música preexistente. Trilogia de Salta música pré-existente. |
| Sumario: | This essay starts from a hermeneutic decoupage of the moments in which music intervenes in the films The swamp (La Ciénaga, 2001), The holy girl (La niña santa, 2004) and The headless woman (La mujer sin cabeza, 2008), by filmmaker Lucrecia Martel, known as the Salta Trilogy. Then, in dialogue with the critical fortune on the director's production and on the use of pre-existing music in contemporary cinema, we defend that her work contains geocultural markers of a sophisticated, ingenious and unique musicalization project, which reveals and demarcates a territory related to his origin and childhood in the city of Salta, where she was born in 1966. |
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