La mujer sin cabeza (Lucrecia Martel, 2008) y el mecanismo del olvido en el pasado y el presente

Pretendemos hacer algunas consideraciones sobre la película La mujer sin cabeza (2008), de Lucrecia Martel, explorando la cuestión del olvido intrincada en su trama. A través de la protagonista -Verónica-, la directora busca hacer un acercamiento personal a los mecanismos de silenciamiento y desmemoria en los cuales la sociedad (tanto hoy como durante períodos no-democráticos, como fue la última dictadura militar en Argentina, de 1976 a 1983) se refugia, absteniéndose de sus responsabilidades en diversos espacios de violencia.We intend to make some considerations about the film The headless woman (Lucrecia Martel, 2008), exploring the question about the oblivion present in the plot. Through the protagonist Verónica, Lucrecia seeks to make a personal approach to the mechanisms of silencing and oblivion. The Argentinian society (today or during periods of non-democracy, as the last military dictatorship in Argentina, 1976 - 1983) makes use of these mechanisms to refrain from their responsibilities in certain areas of violence

Effects of Cross-Fostering on Alcohol Preference and Correlated Responses to Selection in High- and Low-Alcohol Preferring Mice

Background: Selectively bred rodent lines are valuable tools for investigating gene x environment interactions related to risk for alcoholism in humans. Early maternal environment is one particular factor known for critically influencing neural, hormonal, and behavioral outcomes in adulthood. Cross-fostering is a procedure that may be used to explore the role of genotype-dependent maternal influences on phenotypic variability in adulthood. The purpose of these experiments was to examine the effects of cross-fostering on free-choice alcohol drinking and correlated responses to selection for alcohol preference in mice selectively bred for high- (HAP2) and low- (LAP2) alcohol preference. Methods: Mice were assigned to one of the following treatments: SHAM (pups that were fostered to their original biological mother), IN (pups that were fostered to a different mother of the same line), and CROSS (pups that were fostered to a mother of a different line). Mice were tested in adulthood for (1) free 24-hr access to alcohol for a period of 28 days; (2) expression of the acoustic startle response and fear-potentiated startle (FPS) and (3) handling-induced convulsions (HICs) during acute alcohol withdrawal. Results: Overall, the expression of the alcohol preference selection phenotype was robust in all groups (HAP2\u3eLAP2). Cross-fostering produced a moderate but significant reduction in g/kg alcohol drinking and preference scores in HAP2 mice (CROSSLAP2), FPS (HAP2\u3eLAP2), HICs (LAP2\u3eHAP2). Conclusions: It appears that maternal environment can modify the expression of the high alcohol preference phenotype in HAP2 selectively bred mice. These results suggest a gene x environment interaction with respect to the expression of the high alcohol preference selection phenotype but not correlated responses to selection

Acoustic Startle at Baseline and During Acute Alcohol Withdrawal in Replicate Mouse Lines Selectively Bred for High or Low Alcohol Preference

Background: Previous data in both rat and mouse genetic models suggest that there is a genetic relationship between acute alcohol withdrawal responses and innate alcohol drinking behavior. The purpose of the present study was to examine whether acute alcohol withdrawal responses, as measured by acoustic startle and prepulse inhibition (PPI) of acoustic startle, may be genetically related to innate differences in alcohol preference in two mouse lines selectively bred for high (HAP1 and HAP2) or low (LAP1 and LAP2) alcohol preference. Line differences in startle responses at baseline, prior to alcohol or saline treatment, were also measured. Methods: Alcohol-naive, male and female HAP1 (n=35) and LAP1 (n=32) and HAP2 (n=43) and LAP2 (n=40) mice were tested under baseline conditions and during withdrawal from a single injection of 4.0 g/kg alcohol or equal volume of saline at 4, 8, and 12 hrs post-injection. Results: On most trial types, baseline startle responses and PPI were greater in both HAP lines than in both LAP lines and startle responses were greater in males than in females. During acute alcohol withdrawal, both male LAP lines, and LAP1 females, showed reduced startle responses at the 4-hr time point during acute alcohol withdrawal. In contrast, both HAP1 males and females showed a trend toward enhanced startle at 4 hrs in withdrawal. No clear differences in PPI during withdrawal were evident. Conclusions: These findings indicate good evidence for a genetic relationship between greater baseline acoustic startle responses and PPI and high alcohol preference. Modest support for a genetic correlation between low alcohol preference and reduced startle responses at 4 hrs in withdrawal was found in male mice. The suppression in acoustic startle during acute alcohol withdrawal in male LAP lines but not in male HAP lines suggests that a genetic propensity 3 toward low alcohol preference may be related to greater sensitivity to alcohol as measured by acoustic startle responses during acute alcohol withdrawal

As veias abertas da América Latina: um ensaio sobre 'Araya'

O desejo de revelar as realidades conflitivas de seus países estimulou os cineastas latino-americanos a explorarem o potencial político do cinema e, especialmente, do documentário, a partir de 1950. Em um contexto de aceleradas mudanças, sob a égide do desenvolvimentismo, diversos diretores voltaram seus olhares a territórios marginalizados do continente. Questionaram também os reais benefícios que a modernização traria ao histórico de exploração vivido pela América Latina. "Araya" (Margot Benacerraf, 1959, Venezuela) aborda essa questão ao acompanhar 24 horas de uma comunidade que vive da pesca e da produção artesanal de sal na península de Araya. Pretendemos analisar como Margot Benacerraf aproxima-se desse universo e como se posiciona com relação às bruscas modificações que Araya está por viver. Estabelece, ainda, conexões com outros documentários da região que propunham uma abordagem semelhante

'Mate-me por favor': Como ser uma Final Girl em tempos de medo, de terror, de pesadelo

Este artigo pretende explorar como o filme "Mate-me por favor" (Anita Rocha da Silveira, 2015) se apropria e subverte códigos do horror levando em conta preocupações de classe, de gênero e geracionais no Rio de Janeiro atual. Meu interesse se concentra no que o uso do horror busca promover, e como a aproximação a esse gênero pode ser produtiva para discutir os medos (e como enfrentá-los) de crescer em uma sociedade violenta e sexista. Publicado em português e em inglês

They Live: Violence, Horror and Spectres in Four Contemporary Argentine Films

In the Argentine film "The Headless Woman" ("La mujer sin cabeza", Lucrecia Martel, 2008), the protagonist Vero is haunted by the possibility of killing someone in a hit-and-run. Although hinting at the crimes committed during the last dictatorship in Argentina, "The Headless Woman" refers more to a mechanism of the past that is transformed and updated within contemporary society. In this essay, Martel’s film acts as a starting point in the exploration of recent Argentine films that deal with spectres from the past that pervade everyday life in the present: "Clementina" (Jimena Monteoliva, 2017), "One Sister" ("Una hermana", Sofía Brockenshire and Verena Kuri, 2017) and "The Returned" ("Los que vuelven", Laura Casabé, 2019). In a decade in which we can notice a remarkable growth of the horror genre in Argentine cinema, these films embrace several codes and characters from the horror genre to approach the Argentine reality. The author discusses how these filmmakers adopt similar aesthetic features from the horror genre to invoke and address the violence that permeates Argentine society today, with special attention devoted to ghosts, a key figure to understand an ongoing history of brutalities that usually go unresolved

Introdução ao dossiê: A cidade no cinema argentino contemporâneo

The current dossier "The city in contemporary Argentinean cinema" aims to think about how the city is conceived and perceived in Argentinean cinema in the last decade. In the so-called "nuevo cine argentino" (NCA), which appeared in the mid-1990s, the urban space was consolidated as a privileged place to think about the social, political and cultural relations of Argentina at that time. In the most recent Argentinean cinema, after some years of intense changes in the cinematographic panorama (with the consolidation of the careers of several directors and producers of the new film and the incessant appearance of new filmmakers, aesthetics and modes of production), would the urban space still be privileged? El presente dossier "La ciudad en el cine argentino contemporáneo" pretende reflexionar sobre cómo se concibe y se percibe la ciudad en el cine argentino de la última década. En el llamado "nuevo cine argentino" (NCA), que apareció a mediados de los años noventa, el espacio urbano se consolidó como un lugar privilegiado para pensar sobre las relaciones sociales, políticas y culturales de la Argentina de la época. En el cine argentino más reciente, después de algunos años de intensos cambios en el panorama cinematográfico (con la consolidación de las carreras de varios directores y productores de la nueva película y la aparición incesante de nuevos cineastas, estéticas y modos de producción), ¿seguiría siendo privilegiado el espacio urbano?O presente dossiê “A cidade no cinema argentino contemporâneo” busca pensar como se concebe e se percebe a cidade no cinema argentino da última década. No denominado nuevo cine argentino (NCA), surgido a meados nos anos 1990, o espaço urbano consolidou-se como um lugar privilegiado para se pensar as relações sociais, políticas e culturais da Argentina desse momento. No cinema argentino mais recente, após alguns anos de intensas modificações no panorama cinematográfico (com a consolidação das carreiras de diversos diretores e produtoras do nuevo cine e o incessante aparecimento de novos cineastas, estéticas e modos de produção), o espaço urbano ainda seria privilegiado? &nbsp

'Kill Me Please': Being a Final Girl in Times of Fear, Terror, and Nightmare

This article explores how the film "Mate-me por favor/Kill Me Please" (dir. Anita Rocha da Silveira, 2015) appropriates and subverts horror tropes in order to consider class, gender and generational concerns in contemporary Rio de Janeiro. It questions what the use of horror elements seeks to promote, and how this approach to the genre can be productive in discussions of the fears of growing up in a violent and sexist society. Published both in English and Portuguese

Open veins of Latin America: an essay on Araya

O desejo de revelar as realidades conflitivas de seus países estimulou os cineastas latino-americanos a explorarem o potencial político do cinema e, especialmente, do documentário, a partir de 1950. Em um contexto de aceleradas mudanças, sob a égide do desenvolvimentismo, diversos diretores voltaram seus olhares a territórios marginalizados do continente. Questionaram também os reais benefícios que a modernização traria ao histórico de exploração vivido pela América Latina. Araya (Margot Benacerraf, 1959, Venezuela) aborda essa questão ao acompanhar 24 horas de uma comunidade que vive da pesca e da produção artesanal de sal na península de Araya. Pretendemos analisar como Margot Benacerraf aproxima-se desse universo e como se posiciona com relação às bruscas modificações que Araya está por viver. Estabelece, ainda, conexões com outros documentários da região que propunham uma abordagem semelhante.The desire to reveal the conflicting realities of their countries of origin encouraged Latin American filmmakers to explore the political potential of cinema and more specifically of the documentary in 1950. In a context of accelerated changes under the aegis of development, many filmmakers turned their eyes to marginalized areas of the continent. They have also questioned the real benefits that modernization could bring against the historical exploitation suffered by Latin America. Araya (Margot Benacerraf, 1959, Venezuela) addresses this issue by following 24 hours of a community living from fishing and handicraft production of salt in the peninsula of Araya. We intend to analyze how Margot Benacerraf approaches such universe and how she positions herself concerning the sudden changes that are about to happen in Araya, and to establish connections with other documentaries in the region that proposed a similar approach

Memoria y subjetividad en el documental latinoamericano actual

Este artículo se propone reflexionar sobre los vínculos entre historia, memoria y subjetividad en los documentales "Cuchillo de palo" (Renate Costa, 2010), "Sibila" (Teresa Arredondo, 2012) y "Os dias com ele" (Maria Clara Escobar, 2013), que entablan un diálogo con la memoria colectiva a partir de recuerdos personales e historias de vida, y cuyos puntos de partida son interrogantes sobre largos silencios familiares. La resonancia histórica de los hechos abordados y su innegable relación con el contexto político-social de las dictaduras en Paraguay, Perú y Brasil hacen que esas narraciones trasciendan lo personal/familiar y departan con una trama de relaciones sociales mucho más amplia. Disponible en: http://temas.cult.cu/articulos-academicos/memoria-y-subjetividad-en-el-documental-latinoamericano-actual/. Una versión ligeramente extendida de este artículo fue publicada originalmente en portugués como parte del libro "Cultura audiovisual: Transformações estéticas, autorais e representacionais em multimeios", org. Carla Conceição da Silva Paiva, Juliano José de Araújo y Rodrigo Ribeiro Barreto. Campinas/SP: Instituto de Artes / UNICAMP, 2013. Disponible en: https://www.iar.unicamp.br/wp-content/uploads/2014/12/cultura-audiovisual.pdf