Abstract:

This article examines how, in Rosaura a las diez (Mario Soffici, 1958)—made as the Argentine studio system production model was in a crisis that would prove terminal—the productive tension between classical conventions of genre and gendered figure lighting is used to visually enact a shift in the representation of the title character from a female object of male gazes to a socially situated migrant who inhabits the social margins of a modern, complex Buenos Aires. The film’s plot employs multiple focalizers who retell the story, resulting in events being narrated several times, each of which expresses through its mise-en-scène the intense emotions and desires of each narrator-focalizer toward Rosaura, generating contradictions that are eventually resolved by a final sequence focalized by the title character. In this way, the film takes part in a wider, though partial, shift in Argentine cinema away from the classical conventions that privileged escapist spectacle, to instead propose an epistemological regrounding after the earlier conflicting subjectivities had undermined the usual credibility of the filmic image, and points toward the concerns with the social margins of the more independently produced cinema to come, known as the nuevo cine.

摘要：

本文探讨了如何在《罗莎拉·拉斯·迪斯》中（Mario Soffici，1958年）-由于阿根廷工作室系统的生产模型正处于危机之中，而这种危机将证明是最终的-传统流派惯例和性别人物照明之间的生产张力被用来在视觉上实现标题字符表示的转变从女性的男性目光凝视到居住在现代，复杂的布宜诺斯艾利斯的社会边缘的，处于社会地位的移民。这部电影的情节雇用了多个聚焦者来讲述故事，从而导致事件被多次叙述，每个事件都通过其剧场表达了每个叙述者-聚焦者对罗莎拉的强烈情感和渴望，产生了矛盾，这些矛盾最终得以解决。以标题字符为重点的最终序列。通过这种方式，电影可以参与更广泛（尽管部分）的活动，新电影。