Different but the Same: Landscape and the Gothic as Transnational Story Space in Jane Campion’s Sweetie (1989) and Lucrecia Martel’s La Ciénaga (2001)
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Traverso, Antonio
Tomselli, Keyan
Williams, Deane
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Abstract
This chapter forms part of a volume which adopts a transversal South-South approach to the study of visual culture in transnational, transcultural, and geopolitical contexts. Every day hundreds of people travel back and forth between southern countries, including Australia, Argentina, Brazil, Chile, New Zealand, Indonesia, Timor-Leste, and South Africa. With these people travel cultures, experiences, memories, and images. This creates the conditions for the generation, sharing, and circulation of new knowledge that is both southern and about the South as a specific kind of material and imaginary territory (or territories). It does so through the study of the southern hemisphere’s screen cultures, addressing the broad spectrum of cultural expression in both traditional and new screen media, including film, television, video, digital, interactive, and online and portable technologies.
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Screen Culture in the Global South: Cinema at the End of the World
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1st
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Creative arts and writing
Screen and digital media
Cultural studies
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McVeigh, M, Different but the Same: Landscape and the Gothic as Transnational Story Space in Jane Campion’s Sweetie (1989) and Lucrecia Martel’s La Ciénaga (2001), Screen Culture in the Global South: Cinema at the End of the World, 2020