Abstracts
Abstract
The early features of Argentine director María Luisa Bemberg, Momentos and Señora de nadie, underscore the deployment of an ideology of motherhood in service of bourgeois social structure and military dictatorship. In these films, Bemberg posits the institution as balancing between containment and rebellion, her protagonists confronting the traditional ideological role of mother and asserting a stance against the repression of the waning dictatorship. Although entrenched in a conventional film discourse, these films set into motion the dynamics of diegetic radicalization which would define Bemberg’s subsequent work and would anticipate the redefinition of the social domain of the feminine for post-democracy Argentina.
Résumé
Momentos et Señora de nadie, les premières oeuvres de la réalisatrice argentine María Luisa Bemberg, mettent en évidence l’utilisation d’une idéologie de la maternité au profit d’une structure sociale bourgeoise et d’une dictature militaire. Dans ces films, Bemberg considère l’institution responsable du partage entre répression et rébellion, les protagonistes remettant en question le rôle idéologique traditionnel de la mère et prenant position contre la répression qu’exerce une dictature en déclin. Bien qu’ancrés dans un discours filmique traditionnel, ces films mettent en place les dynamiques de radicalisation diégétique qui définiront les oeuvres ultérieures de Bemberg, et anticipent la redéfinition du concept social du féminin au sein de l’Argentine post-démocratique.
Appendices
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