
Contents
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Introduction: A Return as a Beginning Introduction: A Return as a Beginning
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Seeing, Looking, Perceiving Seeing, Looking, Perceiving
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The Ghost of Contemporary Mass Culture The Ghost of Contemporary Mass Culture
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The Plan The Plan
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Contrasts Contrasts
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Conclusion: The Splicing of the Disentanglement Conclusion: The Splicing of the Disentanglement
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Notes Notes
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9 Realities Made to Order: On The Headless Woman
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Published:April 2022
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Abstract
This chapter analyses the resources and procedures used in the narrative of The Headless Woman , in order to offer an approach to perception and ‘reality’ as instances resulting from construction processes. Through modes of representation of time and space, the organization of transitions between shots, the relationship between the image track and the sound track, among others, the film foregrounds certain features of northern Argentine society (connections between social classes, gender relationships, links between past and present). At the same time, it refers to ways of constructing and perceiving the environment, the surrounding world, that bear on such a society. In this respect, the Lacanian categories – the imaginary-symbolic-real triad, the relationship between real and reality – as well as Slavoj Žižek’s re-readings on the subject, are helpful as a means of questioning how the relationships between subjects and their environment are configured in the film. This chapter therefore analyses the modes in which the narrative refers both to the mechanisms responsible for naturalising a slanted view, and to the effects of such a view on the configuration of ‘reality’.
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