This article employs the concepts of duplicity and posthegemony to analyse intimate and social interactions in Lucrecia Martel’s La niña santa [The Holy Girl] (2004) and Claudia Llosa’s Madeinusa (2005), focusing in particular on the personal and social development of each film’s female protagonist. By viewing the films through the psychoanalytic concepts of duplicity as defined by Harold Kelman and posthegemony as defined by Jon Beasley-Murray, we distinguish how each female protagonist strives toward posthegemonic status while adopting opposite approaches to duplicity. This is to say that Amalia entirely eschews duplicity while Madeinusa plays upon the liminalities of moral doubleness. In elaborating this argument, we will also demonstrate that both films represent a feminist critique of hegemony in which the emergent and emancipative subject liberates herself from the patriarchal apparatuses of the family, religion and community.
The goal of this paper is to underline the key concepts of the Third Way revolutionary cinema of Latin America with regard to collective memory and politics of remembrance, the National Project of reshaping the National identities and the ideological shift from de-colonial and postcolonial matrixes in the revolutionary utopianism of modernistic cinema and its academic re-evaluation.Latin America is often unnecessarily burdened with a universal theoretical framework of postcolonial production of the difference when in fact it should be investigated through the National paradigm, which reveals (although seen as backward and academically out of date) a unique usage of philosophical ideologies of indianismo , indigenismo and mestizaje that shaped its cultural landscape during the 20th century.
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