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La cienaga

La Cienaga The past and history of Argentina affects its people lives. Poverty has been sprouting since the old conflicts of Argentina and to Lucrecia Martel this is an old story. Perhaps she grew up with economy is always in trouble and an issue of living thus she learned to sustain herself alone. She learned the only way out when you caught up in the edge of tough ‘always’ unexpected situation is to deal with it followed by reality acceptance. This will bring life worth living. Her years taught her to strive and put ‘crisis’ to a more constructive structure. After attending to Argentinian Film Centre which shut down during economic down fall in 1989 she volunteered in short filming; spent some time in reading Greek philosophy; and watched movies to dig her knowledge in cinematography of filming. Her masterpiece made her script La Cienage won award in 1999. To develop her production the prize was merely used as a capital. Martel’s works withstand and become passion to Argentine cinema renewal. She molds every craft and shape with heart and design for artifact of sound. It is like that she’s representing herself to the place of spectator and characters intentionally constructed with the touch of her experience. Thus she put characters to serve as vehicle to represent the actual crisis of Argentine emerged to revelation of desire and hope to live indifferently. Martel’s works have strong relationship into her experiences.
The movement of New Argentina Cinema and the prominent crisis is the astray of diverse screen-play class, its timing helps the not only Martel but the other best-known representatives bring out into the heat of enthusiasm of hallmark cinema art. Looking at the deeper notion of ” La Cienaga” the characters are portrait of Argentina’s catastrophe in geography and climate. As for the cast of ” La Cienaga” human fate is caused by nature and the film is an exceptional autobiographical of many ways. It tells about the story of dysfunctional two related families at their devastating lives. One is on the outcry of declination at middle class family while the other is in the marginalized situation of upper class level. Growing up in Salta, in the northern province of Argentina, where she first made the filming of La Cienaga, at the family of middle-class Martel tries to draw up harsh reality through the attribute of characters with both have adrift social class. The integration of imperfection of lives impersonating in the film made ” La Cienaga” representing conceal truth of depression. The mutual convention of sound framework to the hostility of characters’ social class into the deep emotional desperate situation made anyone drag from the perspective of story place to reality. The elements of language aspects, ambiguity of ambiance, detailed and realistic soundscape can bring spectator closed to the physical world which the different sound level plays an important role. Whereas, the sound intimacy creates sensory awareness of foreboding absorption of story place in the day of life which anyone can feel the strong attachment of reality happening in the story. Martel merely writes for sounds with deep concern to aesthetics at the same time she keeps experimenting not alone for the beautification of cast role, script and dialogue, angle shots but for the importance of sounds as well. So then ” La Cienaga” is her by-product of several visual techniques on storytelling seductions. Her soundtracks suffice to influence the other crafts in the film. Her sound stands out of the others having associated with loud music, and bone rattling effects enough to be considered as ” aurally conceive”. The mechanisms of noise manipulation thematize the functions of music and sounds in the foreground environment of the play that made spectator immersed the sonic imagination into life. However, the cultural huge soap opera influence the themes of La Cienaga. Martel constructed melodrama in which she tackled down women role. Martel films represent how fantasy exists when freedom is blurred among women. There are revealing ordinary scenes touching down the ripples of emotion into tears and high moral tones.
References and Works Cited:
Russell, Dominique. Lucrecia Mantel – a decidedly plyphonic cinema. Jump Cut. A Review to
Contemporary Media.
Holden, Stephen. Summertime, and the Living Is Approaching Unbearable. New York Times.
2001.
Camhi, Leslie. Domestic Disturbances Lucrecia Martel Dives into the Swamp. The Village
Voice. 2001.

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