CEU eTD Collection

in Claudia Llosa's Claudia Llosa's in The Body,The the Abject Adelina Sánchez Espinosa, Department Gender Studies of Central European University Central European University Universidad de Granada Universidad de Granada Jasmina Lukić,Jasmina Jennifer AnnJennifer Vilchez Support Support Main Supervisor: 2014 2014 La Supervisor: Supervisor:

teta asustada

Ph.D. Ph.D. and Horrorand

Ph.D. Ph.D. (2009)

CEU eTD Collection

In fulfillment partial of the requirements for the Erasmus Mundus Master's Degree Women's in and in Claudia Llosa's Claudia Llosa's in The Body,The the HorrorAbject and ______Adelina Sánchez Espinosa, Ph.D. Department Gender Studies of Central European University Central European University Central European University Universidad de Granada Universidad de Granada Jasmina Lukić,Jasmina Ph.D. Jasmina Lukić,Jasmina Ph.D. Jennifer AnnJennifer Vilchez Support Supervisor: Support Supervisor: Budapest, Hungary Budapest, Hungary Main Supervisor: Gender Studies Approved by: Approved by: Submitted to: Submitted 2014 2014 La teta asustada

______(2009)

CEU eTD Collection toapproachpossible histories asthose difficult and ofwar. memories andcontroversial such mother the the portray ofdepictions Llosa’sI violence.argueand afterrape wartime life of memoryexperiences and subversively to conventions these approaches it elements, genre film exp horror not does film Llosa’s Although life. real in traumatic and horrific the to In violence. demons ways, abjective and abstract unrealistic, often in effects ripple various its and rape wartime of trauma the convey to able is Llosa maternal. the and abject the body, the to relation their Idiscuss drama, this in horror the approach to genre film horror the Using trauma. violent of portrayal and discussion the for mediums accessible provide can narrative cinematic the in abject the and abjection how Kristeva’ Julia to relation in film Llosa’s consider I shantytowns. inthesurrounding thatlive Limaaboutand postconflictthedisplaced peasants war civil by impacted were inhabitants these how and Ayacucho rural in communities Prójimos Theidon’s Kimberly anthropologist medical by inspired drama fictional a is film The mother’s rapedher from suffers who Fausta, woman, young troubled a around film award-winning Llosa’s Claudia filmmaker Peruvian Abstract rtn a iuaiey ope vso o hw ie a cniu atr ilto and violation after continue may life how of vision complex figuratively a trating . Theidon .

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how traumatized women are understood as monstrous, through monstrous, as understood are women traumatized how i ter o ajcini re o discuss to order in abjection of theory s a ea asustada teta La la teta asustada teta la telling and metaphor, make it make metaphor, and telling — 20) centers (2009)

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CEU eTD Collection ydifíciles guerra.controvertidasde la historias las a acercarse permiten metáforas, las y narración la de través a cuerpo el y hija Lasguerra. larelación de madre- representaciones después la de experiencias vidasufridas de las y memoria la subversivamente representar para convenciones estas a acerca se sí terror, de películas las de elementos los explícita forma de aplican se no película la en Aunque real. vida la en trauma del horror el con relacionado directamente está experimentar puede público el que horror el Aquí, continuar. puede vida la cómo de compleja y figurativa visión una demuestra que lo abyectas, y abstractas realistas, poco menudo a formas en efectos diversos sus y trauma el transmitir de capaz es Llosa maternal. lo y abyecto lo cuerpo, el con relación su de través a monstruos como ven se traumatizadas mujeres las cómo explico drama, este de horror al acercarse para terror de cine del género la el Utilizando trauma. ydel interpretación discusión la para accesibles medios proporcionar pueden la en cinematográfica abyecto lo narrativa y abyección la que en forma la argumentar y Julia discutir de de fin abyección a la Kristeva, de teoría la con película esta Relaciono Lima. en postconflicto el Llosasobre de película la de base la es guerra Su de tiempos en sexual violación la sobre estudio civil. guerra la por afectada fue esta cómo y Ayacucho de quechuas comunidades las a investigación de década una de más dedica Theidon Theidon. Kimberly antropóloga la de en inspirada ficción una es película La cuerpo. del través a transferido de mal del asustada teta La Spanish version: a ea asustada teta la (2009) de la cineasta peruana Claudia Llosa se centra en Fausta quien sufre quien Fausta en centra se Llosa Claudia peruana cineasta la de (2009) — la creencia de que el trauma de su madre violada le fue fue le violada madre su de trauma el que de creencia la ii

Entre Prójimos Prójimos Entre (2004) CEU eTD Collection have time. during formed this that relationships the up keep and maintain as well as here covered have I themes and topics the on research and studies my continue to hope I opportunities. exciting new, to aperture faced have I negativities and drawbacks the of any despite opportunities better better for a or for experience hoped have not could I me. around world the with engage as well my as continue studies to me encouraged have which of all ways, various in life my changed have who people wonderful of sorts all met have I Hungary, then and Spain to California from Coming mentors. and supervisors professors, have colleagues, friends, I family, my love from received and support immense the without possible been have not would thesis This anchor, at at welcoming, ominous, times during times an being for gratitude some demonstrate to moment a take I that fitting seems it journey, its of end the near I as Now, project. this was background, the in there time, this throughout and triumphs, and challenges laughters, and tears gains, and losses manyseen yearshave two past These future. the into throttle full went and changed completely life my while drives, hard various my on computer, my on mind, my in there, was It CEU. attending while form greater took and GEMMA in studies graduate my of beginning the since mind my on been It dear thesis. has this with anyoneelse time besides have more I spent IcannotCousteau, say cat dear my from Aside life. my in presence occupying constant, a been and own its of life a taken has thesis master’s this that admit to have I research, and dedication creativty, own my to isindebted existence very its I that understand itself.Although and thesis this acknowledge begin I Before Acknowledgements . Th e writing of this thesis and the completion of this graduate program I consider an consider I program graduate this of completion the and thesis this of writing e my list of thank you’s and appreciations, I wish to take a moment to reflect to moment a take to wish I appreciations, and you’s thank of list iii this chapter of my life. of chapter this life. my CEU eTD Collection you.glass toallof my raise I days. final the on submitting and editing writing, of fury the during me supporting 8 the on you of those thank to like would I least, not but Last writing ofmy thesis. the during offered have you of both that ideas and guidance the for grateful am I mentorship. and insight their for Adelina, and Jasmina supervisors, fellow my thank to like also would I youto see and conversations our continue will we that hope onlyI time. this throughout saviors my and confidants my lovers, my cousins, my siblings, my been have you friends; than better been all have You receive. to continue and given was I care and love the for grateful more be not could I and thesis, the from aside me, for time difficult more even an perhaps was This CEU. at friends my to appreciation and love same this extend I like. been have would Granada wonderful you of all for wasn’t it If Granada. in scholarsGEMMA fellow andmyfriends to gratitude and love much send to like also Iwould I week.you,I degree you. next am loveandproud inPsychology so Sindy, of Bachelor’s her finishing for her congratulate and Sindy sister my thank to like also would I you. of both for not was it if today am I where be not could I love. and support neverending the for Vilchez, Teodoro and Maria father, and mother my thank especially to like would I all on theconference circuits. iv

mujeres who knows how my first year in year first my how knows who th Floor (and one on the 5 the on one (and Floor th ) for CEU eTD Collection 1. Introduction1.

5. Conclusion 4. Faustaand Perpetua 3. Abject/ion in 2. Making andBody Unmaking: Memory The and Traumatic 5.2 Horror 5.1 Peru and Potatoes 4.3 Memories 4.3 From TestimonyDaughter toScreenPlayMother to 4.2 Perpetua 4.1 Fausta 3.2 From 3.1 Abject/ion andRape 2.3 PowersofHorror 2.2 Subversive Rape Representations: Wartime and 2.1 Speaking Unspeakable, Seeing the theUnseeable 1.4 OnStorytellingMetaphors and 1.3 ThoughtsBody Embodiment and on Summary 1.2 Plot Reflections and 1.1 Background:Film andthe The Sasachakuy Tiempo Horror to Drama Horror toDrama in Real Life Life in Real La tetaasustada La : Kristeva’s Theory ontheAbject

Table of Contents of Table v v

La tetaasustada La

46 84 82 76 73 66 55 43 30 22 14 12 26 79 52 38 19 1 8 3

CEU eTD Collection of scenes the after and from away up grows but war civil Peru’s during soldiers by raped was asustada filmfiction Llosa’sbyfeature-length Claudia considering conflict ofafter periodsand during live who those by rape to response and memory individual and collective of notion the examine to intend I monstrous. the of instead rape wartime of representations cinematic to regard in but horrific the and wastes, bodily state, physical the of relationship the is what notions various consider will p I thesis, this in In - (3). horrific monstrous-feminine?” the the and particular, ones) metaphoric if (even wastes relationship bodily the states, is physical “what between introduction, directly her in girl, asks final Creed the sexuality. her like with just connected feminine, the regarding these clichés and of stereotypes other evolution like is, monstrous-feminine the The monstrosity. regarding their of construction gendered the in representations, implicitly something is there believes monsters female these calls She ancestors. our of time the since images artistic andmyths dreams, from evolved have that monstrous-feminine, Monstrous-Feminine in discusses Creed Barbara female? actually is monster this when films, horror many in does it ashappens, whatBut monster. male the awayfromthatruns/run victims and/or victim female the of representation general the also is there trope, this from Aside conclusion. its to story the bring and monster the face must who character female final the of trope the to refer term the coined (1992) Clover Carol demon. the or ghost the killer, serial the alien, the monster, the of sight or actions the at shiver and sweat scream, shake, eyes, their one close is it away, but enjoy, look easily or may through sit audience can everyone The that genre responses. a not physical is and film Horror mental emotional, causes that 1. Introduction roposed by Creed in this question but in a very different genre and narrative. I too will ask will too I narrative. and genre different very a in but question this in Creed by roposed (2009). This film represents the life of a young woman named Fausta whose mother whose Fausta named youngwoman a of life the represents film This (2009). (1993)

ht h hro fl gne s ul f eae oses o the of monsters, female of full is genre film horror the that 1 1 because she she because monstrous-feminine the the final girl final the La tetaLa The The to CEU eTD Collection violence— to intend I representation? cinematic in consequences, and memory its violence, and trauma understand we do How trauma. and memory of questions upon reflection a it for allows history, Peruvian in time tumultuous very a after period a reflects it as film significant analysis. my base to necessary be will which film the of summary information background important short of a outline provide an then I with filmmaker. begin the I and chapter, film initial the this of In context and production the regarding and violation after life with violence. deals community a and individual the how ways abstract effects— ripple various its and rape wartime of trauma the abject, the Through rape. wartime of portrayal the of theory Kristeva’s to relation in film Llosa’s consider to and intend discussion Ithe for thesis, medium this accessible an In provide can film how discuss to order in abject rapeare central thestoryfilm. and to the violencethat of elements— film horror to tied explicitly be not may trauma of sense particular this Although trauma. of communication and experience the to linked all are representations narrativeand visual its as well as protagonists film’s The traumatic. the to In horror. of particularsensea creates Llosa’s film how theoryrelatethis to to Iwish maternal,too the and abject the of theory Kristeva’s Julia considering theirto relation their through monstrous, as seen are women how by Creedargues as Just capacities, reproductive and mothering poignant liferegarding afterand questions women, memory violence. over reflection of points various offers that piece cinematic provoking a is It conflict. direct it is related to how an individual and community faces the aftermath of wartime wartime of aftermath the faces community and individual an how to related is it La teta asustada teta La individually and collectively—Llosa is able to convey in often unrealistic and unrealistic often in convey to able is collectively—Llosa and individually , the horror that the audience may experience is directly related directly is experience may audience the that horror the , 2 2 fear, gore, shock, disgust, disgust, shock, gore, fear, a ea asustada teta La is a a is CEU eTD Collection picture.motion of provocative her situateand thefilmmaker first, background some But to trauma thebody. and representation and discussion the through seen as particularly memory, of production Llosa. Claudia filmmaker Peruvian creator, its of and work particular this of understandings and reflections their offer to researchers and academics critics, for allowing distributed widely 82 the at Film Language Foreign Best for nominated was and The Film1.1 Background: the Sasachakuy Tiempo and 50). 2010: (Chauca all it of memory the recollection, the horror, the face to able is everything, despite who, and herself ‘redeem’ to wants who woman young a of process the join and heal to possible is it if asks viewer the which in and war of pain the of heritage the with connects that work a make to was film this making in hers of intention possible a that shared has Llosa Fausta. of story the through existence this of view a presents film This 2009). (Theidon story unspoken often an also is It affected. most population the communities, indigenous peasant, the and collective storytelling by considering and metaphor. individual the within inscription and embodiment memory’s to allude I section, final the In study. of site significant a as body the regarding thoughts review will summary plot the and filmmaker and film the on background the following sections The question. this to closer get to film, the in body woman’s the specifically body, the of discussion a approach

I intend to contribute to these studies by investigating Llosa’s film as a product of and and of product a as film Llosa’s investigating by studies these to contribute to intend I During the year of its release, its of year the During asustada teta La

ersns h dr lgc o te ilne ht ae i Peru’s in raged that violence the of legacy dark the represents La teta asustada asustada teta La 3 3 won the Golden Bear at the Berlinale the at Bear Golden the won nd Academy Awards. It became It Awards. Academy CEU eTD Collection Opinion 1 1992. to 1980 from war civil Peru’s by impacted were inhabitants these how and Ayacucho rural in communities Quechua-speaking in research Perú el en reconciliación la de política la y well-known is it work, fictional a is film the Although ethnographyTheidon’santhropologistKimberly affected. most after communities through the violenceastheindigenous understood period the upon reflect to attempts that study anthropological an with engagement Llosa’s by under life of view a specifically not inspired was film this significantly, Most reading. this to clues provides film the postconflict, is story this of focus the Although understood. is memory how reconsiders and histories unrepresented and silenced the of inclusion the permits film, the opens that mother her of song and memory the and Fausta, of subjectivity therefore memory. historical collective the in considered or included always not are their experiences but terror, harms and serious women survived have extreme violence.These through lived nonetheless have but guerrillas or soldiers not were that daughters and women Quechua-speaking the of trauma the spoken: not shared, not is which story and reality certain a approaches Llosa Fausta, through and community, and context determined a inside film this Making decades. two over spanned than counterinsurgency military the and violence guerrilla terrorist the of years the after Lima of city capital the of outside-lands the on lived being life the of vision subaltern a shows story Her protagonist. main its as Fausta named woman indigenous Peruvian young a above, briefly mentioned was as involves, It Various publications refer refer publications Various 2012; La teta asustada teta La , ersns ht s o tpcly nral, ovninly ersnal. The representable. conventionally normally, typically, not is what represents Chauca Chauca 2010; to Theidon 2009; and Velez 2011. 2011. Velez and 2009; Theidon is written and directed by Llosa, it is her second feature-length film. film. feature-length second her is it Llosa, by directed and written is Theidon’s work Theidon’s

as Llosa’s inspiration for the film, such such film, the for inspiration Llosa’s 4 4 (2004). This text focuses on over a decade of decade a over on focuses text This (2004). Entre Prójimos: El conflicto armado internoconflictoarmado El Prójimos: Entre El Sendero Luminoso Luminoso Sendero El 1

t s ae uo medical upon based is it as Centro Centro La teta asustada, teta La (the “Shining “Shining (the de campesina Estudios Estudios de

CEU eTD Collection omte b ter w nihos fml, friends— violence family, fratricidal neighbors, own of their victims by but committed guerrilla, and state the of victims violence, extreme experienced especially just Peru southern in community Ayacucho not The were they ae a a ihy eurn cie uig eus nenl ofit committed conflict, internal Peru’s during crime recurring highly committed rapes a were There state. was the of agents by Rape primarily and women against primarily what they had toendure. of telling the through comes that occurred what of reflections their also but victimization of their just not testimonies is it experiences: own their These frame women these how demonstrate crisis. rape wartime economic and violence political high of period this during assaulted sexually were who women indigenous and peasant of groups from testimonies of traumatic of series a compiles she film, Llosa’s considering in sediments significant most and study, her In memory. the discusses Theidon violence, such of impact the considering the as time this of period counterinsurgency thePeruvian thatrazed countryside. of actions the to attention little paid government the first at Although revolution. their to them submit and coast urbanized the of cities the surround to was objective The communities. indigenous guerrilla of warfare, theories Maoist by Inspired existence. classless of era new a the towards nation move to means a as themselves positioned revolutionaries student university young, mostly These state. Peruvian the overthrow to 1980 in communities Andean inside campaign Abimael by Founded ordeals. bloody Guzmán, its in involved all were patrols) peasant (armed the and military state group), guerrilla Maoist-communist the Path”, Sendero Sendero l edr Luminoso Sendero El Sendero lne a top-d a planned , eventually the state sent out military, moving forward the brutal brutal the forward moving military, out sent state the eventually , aahky tiempo sasachakuy as kon s h Cmuit at o Pr, ea its began Peru, of Party Communist the as known also , w isreto b mblzn te esns f the of peasants the mobilizing by insurrection own 5 5 te ifcl yas Tedn 04 21) In 2013). 2004, (Theidon years difficult the ,

their prójimos . They referred to the the to referred They . ods campesinas rondas

CEU eTD Collection translation of describes powerfully (2004) Theidon by collected Accomarca of Baldeón Salomé of testimony The blood. their milk, their breasts,their through bodies: them throughtheir to transmitted trauma their hadchildren for interest of particular and concerns, main Theidon’s of One disabilities. mental and/or and physical aging debilitating premature as such memories these of manifestations bodily actual and illness demonstrating memories, such holding of weight unbearable the show studies Theidon’s in ofwomencollected abused sexually testimonies 2009,2013). The 2006; Theidon 2004,2007, Mookherjee 2000, Hayden 1995; Das 2012; (Burnet trauma collective and personal of levels high very generated strategy war as used Rape memories. traumatic extremely of bearers are bodies these (10): sites” “historical became violated the of bodies the argues, (2009) Theidon As battlefields. into turned were old, and young women, peasant Andean Quechua-speaking mostly victims, the of bodies The security. of sense a provide to supposed were that bases bases— military near located homes inside common missing also were for Rapes arrests. searches and relatives during as well as villages and towns of occupations armed during change her luck. But it’s no better— no it’s But luck. her change a to her took I this. like been she’s baby a was she be? it could What burns. it hurts, head her says She grade. pensamientos my blood, my milk, my of because and happened, that everything of because damaged is daughter my say I why That’s me. killed would’ve they had, they If her. hear wouldn’t soldiers the that so her get and back go to had I much so cry to began she but distance, a from her watched I milk. my in blood, my in suffering my of all passed I’d that? like live to going she was How die. would she so mountain the in her left I this, Remembering die.” she’ll and her grab mountain, the in baby your leave you “If me, were told women other the we day One eat? to time nothing was there when that milk have During alone. to going I was How all baby. my breastfeed to birth milk have even didn’t I gave escaping, I him. killed have would they came soldiers the if because leave to husband my told I hut. a in hidden were We Lloqllepampa. at massacre the after day the born was daughter My this transcription: transcription: this Nw h cnt td. h’ svnen n ses tl i fifth in still she’s and seventeen She’s study. can’t she Now . a ea asustada teta La a ea asustada teta la i te er f oe wo ee ae ta their that raped were who women of fear the is , it just stays the same. I took her to the to her took I same. the stays just it 6 6 Blw I rvd Tedns 21) English (2013) Theidon’s provide I Below, . alcanzo [also known as known [also curandero Susto and he tried to tried he and ? Ever since Ever ? daño ] will ] CEU eTD Collection la teta asustada teta la of significance the Recognizing disease. a considered is it communities, these To blood. and body’s milk her through mother the of fright and suffering the of memories, toxic newbornof the to transmission subsequent the and violence sexual of embodiment the to relates directly term The community. this in embodied as understood literally is history Traumatic (44). baby” her to emotions harmful these transmit can mother a how and body the alter can memories and emotions negative strong “how convey to term this wanted she that writes (2013) Theidon fetus. the to mother the of womb the in blood the from as well as child, her to mother from milk breastthe in memory violent and trauma of transmission the is relation 2 entering Before body. the from arise stories these and stories significant as testimonies the and film fictional the address will or study this directly in developed either observations Peru, the metaphorically, in war memory. the surrounding of reality position the to political speaks film its Llosa’s to that Considering function in text film the validates also and title the to coherence gives war, civil the covering documents historical related other and Theidon, by compiled testimonies the and film the of plot the between relationship direct the However, 29). 2011: (Velez film the reviewing in particularly culture, Andean of devaluation and/or demystification of form a as film this interpreting when criticism some to led term itself breast frightened “the to translates it In English, film. her of title the asLlosa uses what perhaps perhaps The English title title English The —did stir up controversy in and outside the media. The ignorance of the origin of the of origin the of ignorance The media. the outside and in controversy up stir —did be to a ea asustada teta La Nothing be? it helps her (43). could What everyday. take to [Dioxycillin] pills her gave they and post health h bd. blee hs change this believe I body. the seen as a a of clarifies the reason for its use in the film but the title— the but film the in use its for reason the clarifies little the film the too provocative, too close close too provocative, too a te pns tr cie b Tedn uig e rsac and research her during Theidon by coined term Spanish the was is

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of in Sorrow translation occurred because because occurred translation to , which, although seemingly poetic, moves away from from away moves poetic, seemingly although which, , the female body. This could could This body. thefemale 7 7 to have be read read breast as well as the film the as well as in a ea asustada teta la various ways. various in the title 2 would ” and ” its

CEU eTD Collection e truh e uce To úio t hv i srial rmvd o vi health avoid to removed surgically it have to Lúcido, Tío uncle, her through her urge staff medical Although community. one’s of lives the and life personal own one’s alters drastically that violence past of memory traumatic the with living when self one’s protect to violating same the have take may one that measures not extreme the for stand actions Fausta’s to mother. her as experience measures drastic take to chose She away. rapists keep to order in vagina her into on potato a centers inserted has film she that the and Fausta of haunts profoundly restrape the and mother, her Perpetua’s of of trauma death the the that learn with quickly begins we death, film her The After burial. her planning Fausta unlike thosearound her. sidelines the on life a to relegated in, lives she community the by aside cast is Fausta result, sufferers— its all to all does it as after soon or during raped or Fausta— over affect somatic and psychological a has disease This abusedwar. the during pregnancy were who mothers of wombs and fluids bodily called disease a from suffering of is Fausta rape this, of Because horrific womb. her the in still was During Fausta Perpetua, Lima. of outside right shantytowns the in living Quechua, origin, indigenous of are They raped was Peru. who Perpetua, in woman, a of conflict daughter the internal is Fausta, prolonged protagonist, main the Our during soldiers by 1.2 PlotReflections Summary and larger elementsand characters. its of thestory introduce to order in plot the to summary a provide will I itself, film the of analysis an into le teta asustada teta le , which, as described in the previous section, is transmitted through the through transmitted is section, previous the in described as which, , she is living in constant torment, fear and confusion. As a As confusion. and fear torment, constant in living is she 8 8 CEU eTD Collection margins. thefilm. thisslowly of the begins change However, conclusion towards to the on and toes her on her keeps fear of sense Her speaks. rarely she disconnected, notably seem Fausta see actually we scenes, most throughout Typically, curiosity. guarded a with but world new this to respond does Fausta ways, subtle many In greenery. and color energy, sounds, sights, exciting of full be to seems Lima beige, dry, mountainous, desolate, more In whichas the city isseen out of,especially hersetting. alone, contrast to neighborhood, into movesFaustacomfortableestate. Thisjob very a in capital the in lives who pianist, struggling creatively but wealthy a is Aída Aída. bourgeois, Peruvian a of maid the as job a up takes Fausta Lima, in not village, home her is story film’s the of element main another family, her with in and works properly mother Fausta her bury Although to Hoping home. and family the of outside employment her on thefamily,Lúcido, Tío headed by strongly is focus the importantly, Most home. her from and to Fausta escort who men and boys the is it and hospital, the in her represents who and ceremonies of master the repeatedly is who uncle Fausta’s is it public, in speak who those often are Men society. rather their of structure and patriarchal gendered a demonstrate members, family among customs and and marriage dances happy a nuptial have will she if see to potato a peeling cousin her film as such rituals, the wedding, Máxima’s surround Certain community. Fausta’s of spirit the out that bring that representations various demonstrates events different the Through wedding. own her for preparing is who Máxima cousin her involving those particularly productions, their to dedicated are film the in scenes many and overall, Lúcido’s party wife, Carmela’s, together aunt planning work Fausta’sinher family all weddings, host They business. keep her secret. to uncle her asks and raped being risk than inside it keep rather would she complications, out of the which environment sheout of from rarely steps 9 9 present throughout the film. . . present throughout the film. CEU eTD Collection desperate Aída,for once inexchange of thepearls thatwere her part equally for sing to agrees she money, for desperate more becomes Fausta her Once employer. of demands the complete to able not is first at along, goes she as up them makes she that stating song, especially the so, do to recall continue she that demands Faustasinging, to overheard having Aída, unable Fausta, mermaid. a about sung has she song a repeat to transform.song her to Fausta bossthatFaustaand begins between withengagement throughthe It is creativity. andagency Fausta’s for outlets main the provide singing and song film, the Throughout song. around framed is scene opening The beginning. film’s the since highlighted immediately is song of importance The say. cannot she what sings she as film, the throughout state inner Fausta’s conveying Fausta’s to central is Singing singing. notices window—she the of out piano her thrown has actually she where scene recital— annual her for time in composition new a create Noé have to agrees Fausta After self-affirmation. more gains Fausta that relationship their through partially is It does. Aída as her patronizes or beliefs her question he does nor Fausta, towards anxiety demonstrates never Noé employer. her and family her with has Fausta than relationship different drastically a indicate interactions their confidence, enough gain to able and life, time—throughout is Fausta as but time, of amount considerable a of takes Noé trust to her For intergenerationally. period long a over marginalized been has who someone of fragility of the show speaker friendship, romantic a faint a also forms she gardener, whom with Noé, employer’s gardener her her befriends Fausta job, and the work at while Aída on with speaking Fausta of While scenes intimate The Noé. named Quechua, move to salary so. do her to necessary money on the ensure advanceto an get to able be would she believing Originally extra measure totake wouldneed thatshe realizes Fausta soon funeral, forward mother’s her Aída Doña 10 10 , who is worried she will not be able to able be not will she worried is who her frustration highlighted in one in highlighted frustration her doña’s

necklace. necklace. s CEU eTD Collection wartime of subject the as sensational and/or problematic potentially As fear. less and agency more with woman a into traumatized, and diseased as identity her of markers defining the ofsome shed to begins She self. liberated more a for foundationsrestraining less into history, and culture family, her of trauma, of shackles were Overall, first at what against negotiating herself, her, to promised was what ofshowing character.change a strong take to Aída’s to go will Fausta Eventually, crisis. of sense a to narrative the brings that moment decisive a in alone streets the walking left is car, the of out get to forced Fausta, reality. this from herself distance to wants remarks, brave Fausta’s in truth the hearing Aída, highway. the of side the on off dropped being her to leads which recital— the of reception the about remark a makes Fausta self, and voice own her of more gaining is she that demonstrating slowly and steals film, the of end essentiallythe woman upper-class terrible the conclusion, the to Towards closer you. thank a or Getting credit giving without recital, own her for produced has Fausta what alien objecther nolonger once serves inside that it thepurpose had. an away, pushed be to needs which that becomes end the at but protection of means Fausta’s initially is potato The film. the of end the at immediately removed be her inside from potato the that breakdown, nervous a of brink the on out, cries desperately she after hospital the to Fausta getting Noé to leads eventually that interactions of series a begins This there. gets she sure make to distance a from watch will and home her approach to him want not does Fausta that fact the respects also and attentively, listens Noé spirits. evil off fend to it, alongside wall the touching while walking of practice the respect not did he because died brother her how of talks Fausta capital. the to neighborhood her connect that stairs huge the up climbing Quechua in speak them see we so, do to able not is escort previous her after home her walk La teta asustada asustada teta La olw Fut a se aiae hr ore t finding to journey her navigates she as Fausta follows 11 11 the applause is truly hers— truly is applause the , CEU eTD Collection hoeia faeok o dsusn bt bd ad moiet n rlt te i the in offilm study.context them relate and embodiment and body both discussing for framework theoretical her consider closely I affected, most communities the by directly understood are these notions how upon reflects study her As sensations. bodily and body related the are of parts trauma to and directly memory pain, how and studies she communities and the body in of memory relation the discusses extensively Theidon work. own her in examines she memory and body the on perspectives apply I study, Theidon’s was film this of inspiration at looking the When As work. cinematic this to central are which memory traumatic to related as embodiment on and Embodiment Body 1.3 Thoughts sensually, tothe root.and thesoil, stemto thecamera tracks downthe depicted— not left plant by—although a plant, potato a of flowers door the smelling Fausta is film the front of shot final The her at mothersand Ocean. dunes. tosee Shetakes thePacific her the through corpse mother’s her carry her see we and truck, the stop to asks Fausta journey. Fausta’s breakthroughin final the suggest followingalongcamera the androad on the motion forward The highway. mountainous a through zips it as corpse, mother’s and family her with truck, moving a of back the in sitting Fausta see we conclusion, the in scene last to second Inthe shot. tracking lengthy a with progress Fausta’s commemoratesLlosa Fausta, especially characters,various immobilityof social the highlight servedto that film the throughout found camera static mostly the aside Setting cinematically. and narratively restraint, appropriate an with material the treats Llosa be, may upon itself centers film the that postconflict and rape a ea asustada teta La 12 12 I il osdr h bd ad oin of notions and body the consider will I , o. h pt hr oe o h flowers, the to nose her puts She Noé. CEU eTD Collection manifestation— this of depictions uncomfortable rather some presented are we film, Llosa’s In manifested. are violence and memory where site is body the inscribed, embodied, as here understood literally previously, mentioned As Traumaticis memory child. her to mother from blood) (and milk breast the in (rape) memory to connectexpress and able is viewer the text, film the through body Fausta’s experiencing by that suggest I culture. given any of member a as body a have to and be to both learns one how is varies what being; of states and emotions expressing of means a as used is configurations cultural various its in body the perspective, this From which world. the in engagement and presence of mode a involves experience, social embodied is experience human all that assumption the through Thomas consciousness, and experience of study the phenomenology, upon methodologically understood Drawing be can embodiment that suggested has 1994) (1990, Csordas J. relation often it, inuncomfortable to for and ways for themselves theviewer. their negotiate continuously that memory of sites become mother her and her of bodies The memory. traumatic to relation in itself unmake and make can body the how see we Fausta, Through conflict. Peru’s of memory collective the as well as mother her of trauma and pain the embodied has Fausta film, the In potential. destructive and productive both has body the argues, Scarry As experience. of and boundaries question site to brings that history a and multiplicity is body The world'. the of making 'the to leads creation human whereas others, with/to sense make and speak to capacity their of beings human robs andworld’ human the of unmaking ‘the to leads pain physical that argues upon body,she the upon pain reflects inflicting of and she silences, of speaking the discusses 2013) (2004, Theidon When work, influential (1985) Scarry’s Elaine the representation of the traumatized body is shown and told through the through told and shown is body traumatized the of representation the her traumaand history. also her la teta asustada teta la The Body in Pain in Body The 13 13 is the transmission of trauma and violent and trauma of transmission the is . In this study of the body in pain pain in body the of study this In . CEU eTD Collection focus study. this uponin memory— of representation and to brought stories, transmission the for allows storytellingthat is into It metaphors. as devices such languagethrough put are Memories storytelling. through so do they believe I and themselves reinventing and renovating by persisted that have that possibility memories of the conglomeration contemplates Borges Luis Jorge (1983), the be Sphere” just perhaps may “Pascal’s History (205). metaphors” few In a of history the is history “universal Storytelling and 1.4 On Metaphors that have difficulty cannot toorbearticulated. in expresses realities portray to screen reproduced be can abjection and abject as position the how ways powerful the on body The memory. traumatic violent, of affect the to represent screen the on infiltrated becomes body the as spectator, the in possible affect visceral a is thereher, inside lodged potato a with about moves and lives Fausta as disgust Wein turn genitalia. her sexuality, own her reject to her causes trauma Her rape. mother’s her of story and memory the and disease Fausta’s particular narrative, the within representation various Symbolic the in read be can abjection and abject the The experience. traumatic ahave to is it Order,face to of outside space, liminal a in exists abject The reasoning. social and body the disturbs and by rejected is which that is abject The above. cited as monstrous-feminine the on work seminal Creed’s being example an genre, horror the to relation in theory film (1982) Kristeva’s Julia abjection. and abject song and film being two forms of storytelling that I wish to wish I that storytelling of forms two being film and song 14 14

writings on abjection have been discussed in in discussed been have abjection on writings CEU eTD Collection around storytelling have been seriously discussed especially during the 1990s. the1990s. during especially discussed seriously been have storytelling around grandmother— the and historian the between separation the down breaks therefore Storytelling narrative. historical homogenous be can the of story destabilization a a of for versions allows This all maintained. that storytelling within especially is it change, history and storytelling both Although versions. other all collective nullifying one while of acceptable as history, memory, a of version one apart sets This version. current its in present most is truth this insists and truth singular a enforces history story, to contrast in explains, also she As ones. new inciting while multiple has but memory sole a or story one contain just not does story Grandma’s activity. women-centered a specifically is storytelling (1980), Minh-ha Trinh to According productive. also is It capital. emotional provides but happened a the discusses he (1936), 3 Storyteller” “The essay Benjamin’s of fall Walterthe how and world modern the in In storytelling, of experiences, of incommunicability imaginary. collective a produces community imagined (1983) Anderson’s Benedict of capital printed also is film the poetry, like much memory, collective create to and means a as situated be can Film literature capital. narrative Like (120). history” than truer be then must poetry) storytelling suggests, Trinh stories As new past. creating violent experienced, Peru’s then surrounding and represented is history untold mother’s her information— transmitting only not of way a is Storytelling fiction. and truth of borders the with play can storytelling, oral like storytelling of representations and storytelling of role the at look will I A deep A sustada er discussion Film, storytelling. of form some into translated are memories how see to order in , on storytelling does not fit into the scope scope the into fit not does storytelling

something that also happens in Llosa’s film. Fausta’s and and Fausta’s film. Llosa’s in happensalso that something eosrtn sbetvt ad agency— and subjectivity demonstrating 15 15 of this thesis. However, I However, thesis. this truth n te oin f singular, a of notion the and

a ltrtr (narrative literature “as am aware that issues issues that aware 3

in of what what of a teta La CEU eTD Collection histories: people, theirand memories are narratives that stated rightly once (1994) Barthes Roland theorist literary French ev to closer based one viewpoint, stories thanindividual onnumbers, projects andpolitics. alternative an provides Llosa war. civil the represents that voice the of majority the form then These histories. and memories generalize practice by which of all media, the and state the Commissions, Reconciliation and Truth current in present been has that perspective dominant the unlike is This trauma. and struggles their and a outside characters conflict individual on focusing a by perspective nationalist of and masculinized memory homogenous, collective a of perspective subversive a provides film Llosa’s silenced. more-often-than-not were suggests, Theidon as women, These war.Peru’s story-difficult- a story-less-spoken, discuss to According them. affects and to Iintend work, transcendent a of as film a at By looking timeless. remains Benjamin,narrative part becomes experience this turn in and receivers storyteller.throughthe other the areto translatedwhich storyof affects experience,all its The and voice memory, embodied communicating of act an is indeed storytelling how suggest to ideas his to relate I experiences. shared of devoid history in time a at comes storyteller the erywhere; they permeate our existence and act as accessible means to convey the life of of life the convey to means accessible as act and existence our permeate they erywhere; h dvso bten od n bd ieaue nraie s international, is narrative literature, bad and transhistorical, issimply it transcultural: there,like life itself (251-2). good between division the beenthere for has without anarrative…. nowhere people Caring isnor nothing and mankind of history in very the age, with begins every it society; in every in present place, every is narrative forms, of diversity infinite almost this under Moreover, conversation. items, news comics, cinema, windows, glass stained- Ursula), Saint Carpaccio's of (think painting mime, comedy, drama, tragedy, history, epic, novella, tale, fable, legend,myth, in present is Narrative a ea asustada teta La as a vehicle for experiencing a representation of a memory of a a of memory a of representation a experiencing for vehicle a as to -be-spoken, of the violence committed to women during women to committed violence the of -be-spoken, 16 16

CEU eTD Collection also considered generally, somehow making its limitations more obvious and therefore more more therefore and obvious more limitations its making somehow generally, considered also but questioned something becomes truth fiction, through narrative, through because, is This with. dealt being are that traumas of type the recognize and with engage actually to capacity greater a is there which in one approach, this to alternative an offers film Llosa’s believe I 25). Shecontinues rightfully tonote, so,that: 2003: (Theidon suffering” of conceptions humanitarian and postconflict in role prominent trauma— of of “discourse frameworks the For manner. create this in to trauma approaching order in lost is in much But responses, assessment. personal very universalize to able be to order in created, distance a is There (144). life” everyday of out metaphors medical creating on of based process embodiment political a the become has on distress social Kirmayer of “medicalization J. the metaphors, Laurence of work the upon based argues, (1994) Low M. Setha As past. the of affectsthe with live they how and person, traumatized the pain, in person the betweendistancecreatingbecome extremelyaphenomenahas medicalized, this addressingandevaluating to currenttrauma,trends of discussion Inthe trauma. with living of people— between empathy of sense a and dialogue create to order in activity important an such becomes Storytelling o hl slir i te og ad uvvr o rp i te Balkans, the complexity in (26). moral and rape etiological with of fraught experiences divergent survivors vastly and encompass Congo to capacity alleged their with the beguile theories trauma mainstream in soldiers child to America Holocaust Latin in women battered From from Vietnam, in soldiers legacies. U.S. to survivors their and events violent about otherwise think to the globalizing difficult it making normative, increasingly become has of itself narrative trauma process the interventions, postconflict and the humanitarian through trauma of In discourse questionnaires. of use sensitive” the via PTSD “culturally of symptoms detect to countries experts postwar trauma to of industry deployed an and trauma for market enormous an is There n te sciti danss f ottamtc tes iodr (PTSD)— disorder stress post-traumatic of diagnosis psychiatric the and it can be an appropriate vehicle for the assessing and expression expression and assessing the for vehicle appropriate an be can it 17 17 ly a plays CEU eTD Collection for thetrauma continuesevengunshots. are that more afterthere soundsof no metaphors are accomplishes Llosa what metaphors, few a of that indeed is history universal rupture— and transgression resistance, of action an be to potential the has story film Every 50). 2010: (Chauca way own their in story the complete can person every that so of, off bounce to prisms” and “mirrors create to possible is it that but long half a and hour an is that movie a in country a of reality the portray to impossible is it that remarks Llosa limited. therefore and representation a still is it memories, and realities rape inPeru. thenational— to connection the but trauma of embodiment an demonstrate only not to metaphor as potato the utilizing is approaches successful most her of one overall, and, approach, this with engages film Llosa’s (220). another” to members of group one of experiences life complex the convey to forms other than able better maybe poetry, or fiction like discourse, of forms ‘nonrational’ and“‘[n]onanalytic’ writes, (2004) Narayan Uma as sense, In this recognizable. Al though a film may allow for its viewer to get closer to certain unspoken, unseeable unspoken, certain to closer get to viewer its for allow may film a though the collective— the

memory of the unspeakable, the unshowable, of war and wartime and war of unshowable, the unspeakable, the of memory

18 18 to be subversive. If, as Borges states, states, Borges as If, subversive. be to CEU eTD Collection eiiae ad rns o agae h sfeig o h aporae audiences— appropriate the to suffering the language to only brings arises and that a legitimates legibility in the suffering universalization, such certain a frame for to allows that fashion doubt medicalized little is there Although 25). 2009: (Theidon war” of suffering the with dealing for framework primary the become “has above, mentioned as (PTSD), disorder stress post-traumatic surrounding discourse concept medicated and from term derived a memory, Traumatic Fausta. of body the through In memory traumatic the filmic narrative. outside and inside perceived constructedand is it how of awareness the increases also screen, on body the spectacle, This bodyspectacle. a is there whenelicited response greatera thereis films— sensational “gross” of discussion her in out the points (1991) to Williams Linda as but, experiences, such provide to able have be may Films viewer. may representations the responses affective various visual the a just of than because more medium is cinema The to medium. exception an offers visual it as purely memory, of a inquiry my within as centrally body cinemathe place I of notion the through efforts. socializing songand her this embodied has ‘unmaking’— Fausta body, the on the memory of to potential attention productive dedicates and Scarry destructive as Just remembering. when first must stake we memory, traumatic of speak at To body? the in inscribed memory is is How what consider researchers, example— politicians, for Unmaking: and 2. Making and Body The a ea asustada teta La h dsrcin f an tam—n ltr s lo be o moy creation embody to able also is later trauma—and pain, of destruction the w ae ie a hscl n mtpoia rpeetto of representation metaphorical and physical a given are we , engaging with studies of studies engaging traumathe “traumatized”. and with Traumatic Memory 19 19 orr prorpy wmns film— woman’s pornography, horror, doctors, doctors, CEU eTD Collection War andWar torture— tortured. the for civilization negate and destruct to intend Both equivalent. almost become torture and war her, For torture. to Scarry leads this war, in injure to intent the underlining technology— as war— in apart itself sets that out, and inside body, the injure to intent is There violence. its aspect, causing pain- its is war of point main the that argues She war. to relation in pain with this connects She others. of that or pain own one’s pain, expressing of impossibility the of investigation longer no is or taken been has which that create and is envision to pain ability the and to imagination similar that argues she ‘making’, of has discussion what Scarry’s In erases them. never to it happened But projects. social or endeavors personal through it be lives, former their of departure and destruction violent the with deal women these of Many lives. changed forever their within forward move to ways find do many agency, for spaces find rapedosurvive who place.Women its take will body,new somethingthe on and in trauma of suffering the through even and violence the of horror the after annihilated, is everything after that argues Scarry productive. become torture and war how discusses she theory, Marxist and the to world’ the of ‘unmaking the scripture Judeo-Christian in bodies on study her Through part. first the fromin seen as dismantling goes its book to contrast the in civilization, of of aspects section creative the with second deals here The Scarry it. of ‘making’ through ‘winning’ is it because is This winning? about is really it if Particularly game? chess a or dance-off a Scarry’s of section first the In its is pain of reality inexpressibility. main the repeatedly, out points Scarry as for, problematic, is This if war was really only for strategic advancement or agency in resources, such resources, in agency or advancement strategic for only really was war if then why could not this contest be something else besides warfare? Why not Why warfare? besides else something be contest this not could why then and by extension, rape— extension, and by truh h patc o voec th violence of practice the through , injury h Bd i Pain in Body The ‘unmake’ the world, destruction is the aim. istheaim. ‘unmake’ the world, destruction 20 20 , she deals primarily with her her with primarily deals she , at ak wr s a. With war. as war marks CEU eTD Collection of existence— of river the on shore, everyday nearer, the shore, metaphorical a is grieving that philosophy, of construction the on arguments her within lamentation discussing metaphor river (1996), Cavell’s Das Stanley Veenausing demonstrates, body, the and language through pain of and inthe lifeafterwards. that comes practice violent this in new stake at to is what leadconsider truly to to approaches and necessary conceptualizations is rape wartime around dialogue open more a believe I scale, about bringto means a be Theremust wartrials. and Committees Reconciliation and Truth as such agendas, governmental and politicized just than more takes it happen to atrocities such of be healing collective to for that believe have I (69). realities apprehended” be “[s]ome can they before text, fictionalized same the in representation— notes its Das of As level representation. the cinematic to rape and memory body, of discussions these about bring will I because now this mention I Commissions. Truth and organizations feminist through seen as memory, collective in rape wartime with involved project a also is There violence. and rape wartime of memory and affect the with individually, especially endurance, of question the just not is it work, Theidon’s of much by shown been has as But, bygiving a it place inlanguage. She rightly notes: rape by caused trauma and turmoil of state inner the objectifies grieving ‘public’ everyday, going— keep to need and must victims many however, rape; wartime in potentials productive inherently are there that suggesting not am I there. healing—women call such healing simply the power to endure (68-69). healing—women such healing call toendure thepower (68-69). simply towards path one is This loss. in lived be to has that life of awareness full in again, dwell can non- one which its in world a by into transformed death, be can by inhabitability, revealed world the of strangeness the which in world the of articulation an to lead language and bodybetween transactions the Thus the other shore being the farther, metaphysical shore. In the nearer shore, the the shore, nearer the In shore. metaphysical farther, the being shore other the 21 21 they become survivors. On a wider a On survivors. become they specifically CEU eTD Collection without unspoken the of representations offer that ways in that approach can something narrative fictional is unseeable, the see to unspeakable, the speak To rape. and violence on focus explicit an than rather testimonies, from subjectivity,pulled her and character female a fictional story,research a into the of thecome translation outof This seems to focus on by the work? her in realities these embody she does how and the 2009) (Theidon memory” of “violence and approach Llosa stories does true How study. the anthropological Theidon’s of by recorded interpretations testimonies and reflections metaphorical and symbolic of consists narrative visual Her fantastic. not if uncomfortable often are characters both through asustada in translation cinematic a in represented and reflected and is individual it, of the memory atrocities, collective and war civil Peru’s rape. to related question a especially is and trauma, collective and personal surrounding questions are These seen? be not could or not should what showing or said, be cannot or said, be not should what saying approach one we how inquire to order in cinema and does memory How violence, representation. at cinematic look in will consequences, section and This memory its violence, understand the Unspeakable, Seeing the Unseeable 2.1 Speaking happenings official its isoutside ofhistory ifit even record. actual the to and spirit human the of endurance the to legacies are be they because not forgotten should that but again, see or speak not rather would one that one forget, that rather would stories with discomfort, cause that realities and stories with engage that effects and narrative visual its of consumption mass for allows it as vehicle, possible a is Cinema understanding. of mode productive and destructive a to violence of memory traumatic this

in the bodyFausta andmother. ofher Llosa’s and ofmemory trauma representations 22 22 a teta La CEU eTD Collection violence— discussions recommended and Metaphors am 4 of metaphor embodied the of analysis her through this does She biology. and culture of mind, and body mani nervios of phenomena the discussing on in collection Low, M. (1994) Setha Csordas’s contributor experience, In and embodiment experience. lived transmit to way a are Metaphors aim. this towards in constructive become metaphor argues as such devices Scarry Therefore, pain. to as regards communicate, to also difficult is but it individual inexpressible; always is affect is Its It collective. 250). 1994: (Winkler “ knowledge” that understand to important is it of trauma, rape to regards In form structured rape— around discussions for platform a for allows this argue I inaccessible. seem otherwise would that experience and knowledge of forms certain transmit to able sometimes is film narrative capabilities, medium’s film the Through film. of potential narrative the for basis a are stories, through communicated traumatic, memories, or fantastic These realistic, by storytelling. of persisted act have the that through themselves memories reinventing are and renovating metaphors These metaphors”. few devices, storytelling a to and of storytelling history to refer to want I fiction, of speaking In metaphor the specifically particularly is This inthemedium ofnarrativepossible fiction omissions. film. absences, darkness, with unseeable the see to speaking, Due addressing. I I addressing. ettos n aiu Ltn mrcn omnte, h polmtzs h daim of dualism the problematizes she communities, American Latin various in festations to the scope scope the nre)a om f suffering— of form (nerves)—a We and the individual and collective trauma that arises from it. andcollective thatarises it. and theindividual from trauma Live Live nervios of am this thesis, I will only provide a limited discussion discussion limited a provide will only I thesis, this By aware aware (1980) and Roman Jakobson’s Jakobson’s Roman and (1980) , the metaphor that emerges from bodily experience. The body becomes becomes body The experience. bodily from emerges that metaphor the , of 4 on . I return to Borges’s notion that perhaps “universal history is the is history “universal perhaps that notion Borges’s to return I . the vast amount amount vast the metaphor.

s ie eprec wt eoinl n somatic and emotional with experience lived as of literature literature 23 23 Fundamentals Fundamentals on the subject. Please see George Lakoff’s Lakoff’s George see Please subject. the of of Language Language metaphor metaphor t usekbe unseeable unspeakable, its trauma (1956) for a more detailed detailed more a for (1956) as

it pertains pertains is a subjectively a is to the topics I I topics the CEU eTD Collection primary which the screen “as have on “traditionally” women they of as function, bodies the argues, Williams as share, three All terror. and violence thesis, this to pertinent more is horror, which in and weeping melodrama in orgasm, involves a it pornography In show emotion. or genres sensation intense experiencing three body the of All spectacle spectacle. bodily of feature main same the share three all how “gross”— as perceived be may that films its of becauseto relation in ways genres, body of complex Williams’s discussion In capacities. various narrative and audiovisual in audience film The its elements. audiovisual affect its to tied to is film Llosa’s ability of experience the the of Much has medium responds. metaphor towhichthe film toanexample ofbodyaudiencewithin points spectaclereacts and as potato The grows. continuously potato The eventually. out come will it but dark, the in also it but rape from protects itself— trauma embodied the potato represents The survival. and violence rape, war, of trauma the with engagement of level certain a for provides that rape prevent to pessary, a like her, asustada teta La visual how In suffering. unspeakable and at senseless with engagement looking an for allows am cinema in metaphor I study, this In (143). suffering” unspeakable and senseless otherwise of communication the for allows metaphor performance.... and action for plan the a is it “strategic; to also is metaphor that argue to experiencecontinues She graspable”. easily and concrete lived of inchoate and abstract the from move to one allows Metaphor group. or person a of identity nascent and undefined the define to “way a is metaphor that writes She forces. social of representation and meaning of source a becomes then experience from distress their communicate to individual an for means the , it is the visual metaphor specifically of the potato that Fausta embeds inside embeds Fausta that potato the of specificallymetaphor visual the is it , it is invisible but always present. It can be put away,put be can It present. always but invisible is it pornography, horror and melodrama— pornography,and horror 24 24 embodiments nervios f laue fa, and fear, pleasure, of o tes Bodily others. to she discusses she CEU eTD Collection future. near the in by generations even not perhaps and generations current the by recovered be not will that tranquility and order of sense a broken has that something of knowledges and experiences embodied evident become fright) to due lost soul (fright; as such conditions somatic of meanings political subversive for platform a work onnervios provides Low’s like much film work, her bases Theidon how which on community Ayacucho the discuss of case the to on going Before and body. of the useof on metaphor sociopolitical discussthe I to representation,first want In unofficial histories. andstories untold representing andapproaching for tool subversive, even powerful, becomea can cinema the how shows This them. questioning time same the at while them accepting theater,the of darkness the in story,sounds, the the receives images, She ways.the individual various in spectacle, body the to screen, on sees she what to reacts she that in active is She fixed. nor passive necessarily neither is then, spectator, The (8). passive” entirely nor fixed neither is “identification genres, body to relation in states, Williams story.As and characters the with has audience the identification the of because responses physical and emotional active and passive both elicit mayfilm that is significant is what Still, ends. voyeuristic same the towards directed necessarily not is but traumatic and horrific the with relationships and representations on relies it film, horror traditional Like own. its on entirely is but structures asustada Since genres. body these as framework same the in function not do but pleasure, even times at and pain, and fear of embodiments both are They mode. traditional same the in not is it but function, similar a have will mother her and Fausta Llosa’sfilm, In (4). pain” is not a horror film, or a conventional melodrama, the film gets near to such genre such to near gets film the melodrama, conventional a or film, horror a not is , there is evidence of the type of somatic culture that exists and, therefore, the and, therefore, culture thatexists ofsomatic thetype evidence of is , there Susto mois h eprec o lsn oeef o the of oneself, losing of experience the embodies 25 25 Nervios . nervios , o i te euin case, Peruvian the in or , susto and a ea asustada teta la a teta La susto susto are CEU eTD Collection s etoe aoe fls a dsaiie h bres f rt ad ito, of fiction, and truth of borders the destabilize can films Llosa’s above, descriptions. as well mentioned as sensations transmit As to memory individual and collective Representations:2.2 Subversive Wartime and Rape perhaps, the future. memory,of and, modes historyand means new create to representation subversive a provides film— how consider to possible is it present, and past this with struggle Fausta’s of portrayal Llosa’s Fausta In that directly. not rape suffers—although of type this is it and exception, no is rape Wartime memory. collective directly and nor individual through generations, the portrayed, through effect ripple explicitly traumatic a create be to involved, to have not does Rape film. in memory traumatic of representation the for metaphorically, and historically site, the is therefore, body, The trauma. embodimentexperience ofform ofthe theseThe and in various conditions, ways, that carry also will who generation next the of bodies the to transmitted is disease, a like trauma. unending of discomfort “reel images” become the stuff of “real” life? (Theidon 2013: 90) “reel (Theidon 90) stuff 2013: of“real” the life? become images” Can memories? our construct to use we that and from come images the do Where suggestion, and wonder to openness an unlocking (Vogel 10). ofthe1974: unconscious create to combine environmental and factors psychological where magic of place a is cinema the For up. lights screen the and darkens theatre the when starts cinema in Subversion the of vulnerability the lives (Low 1994:157). to their of transparency context violent sometimes metaphorand hostile the within of sufferers individual kind a suggests - - cultural the metaphors the While of language symbolic specific device. the of locus the remains, context symbolic mediating the as acting relations, body self/society the of with metaphors are experiences bodily the that suggest the body shaking, incorporation, extrusion, loss offeeling, and loss disappearance extrusion, shaking, incorporation, the body La teta asustada teta La 26 26 through its visual metaphors and storytelling— and metaphors visual its through , a trauma that has infected the rape victim, victim, rape the infected has that trauma a , La teta asustada La La CEU eTD Collection Wartime rape, as opposed to rape in “peacetime”— in rape to opposed as rape, Wartime with diseased is she but story, in backgrounded occursthroughmother’sherFausta’s violation violated. is that mother her is directlyit andas and foregrounded both is rape Wartime personally suffered she something not also is it but character Fausta’s of basis the constitutes or argues a Williams “jerk”, theaudience (5). shake, perhaps even shock that means visuals and narrative to through trauma wartime able portray also is She community. and mother her to occurred that violence the knows who daughter the generation, next the through but victim, the or nation the media, the through not rape, wartime after life of portrayal the imaginary this within specifically includes Llosa violence. the after life and children, their women, includes that imaginary historical a creates break- the in represented and portrayed been have gender and ethnicity media, how at looks In 1990s. the in war the during Bosnia in rapes mass the on decades, recent in paid, been has attention much although wars, all in occur to Itfoundbeen has civilians. and combatants practicedby is enemy, both supposed it the to can of violence sexual It amidstoccur conflictcan as andwar. party sidejust thesame it within or involving war Luminoso the of legacy and story official the as undermines story she a such Fausta’s, portray to deciding By this. precisely does films Llosa’s then ofauthority, structures of overthrow an of systems, current from break a the is subversion of If outside expected. something doing by responses and perspectives revolutionary create that stories, untold of pattern this break to intend that representations subversive for allow film, Llosa’s particularly films, that argue I story. “unofficial” unspoken, an often also decades, asustada teta n is femt, n gad scale— grand a on aftermath, its and ersns h dr lgc o te ilne ht ae i Pr fr vr two over for Peru in raged that violence the of legacy dark the represents la teta asustada teta la 27 27 because of her mother’s embodied trauma. embodied mother’s her of because The Body of War of Body The oal, ainly n itrainly She internationally. and nationally locally, a contested term surely—, is the practice practice the is surely—, term contested a (2007), Dubravka Žarkov Dubravka (2007), a ea asustada teta La l Sendero el It . CEU eTD Collection ae Js a i te omrYgsai, hs Prva wmn ue ifrn rhetorical different that accounts events, of accounts own their suit “use will that language a find to order in strategies women Peruvian these former-Yugoslavia, the in as Just rape. and violence wartime with experience their regarding discourses separate own their create indigenous 2013). internal(Theidon women inthe conflict 2004,2007, 2009, ofPeru as studies, various by noted towards violence sexual around been discourse in question a also has is and Žarkov, by demonstrated This about. spoken be or speak can victim the where provide norms these space discursive of lack the by invisible made be may victim the norms, these upon back falling by that out points Žarkov (174). identity construct and action for account to attempt individually different, although which, experiences, their construct to representations and language same the using system, dominant the upon draw perpetrator and victim effective,both be to rape violenceof and act the for Inorder place. and time particular a in project or context political specific of a and identities; and relations social difference-based relations norms; sexuality and gender of formulations hegemonic of intersections the gainedthrough is meaning but conflict,during womenrape of the of singularmeanings fixed, gender of tooverstate” “impossible theintersections is out, it AsŽarkovrightly points no are There (170). rapewartime of context the in power of relations other with sexuality and and definitionsforviolent practices. committing norms various these on depending itself war the with norms, sexuality and gender ethnicities, upon based conflict the depicted of media The production sexualities. and the genders as to well as central ethnicities, became Bodies divides. ethnic the produced itself war the She arguesnot awar wasgroups— war ethnic howthis between conflict. the during press Serbian and Croatian the in used are bodies how discusses bodies— various at looking By Yugoslavia. of up As eosrtd n hio’ wr, h wmn h suis ae rae ad still and created have studies she women the work, Theidon’s in demonstrated 28 28 eae n ml specifically— male and female Serbs, Croats, Bosniaks— Croats, Serbs, but that she she CEU eTD Collection tomeans possible a is Subversion reconciliation. and nation— retribution of projects to agenda,related memory, history, of agenda the within placed be should it that claim subversive a makes is she time same film the at Llosa’s but victim, the film. shown are Llosa’s we because subversive in trauma rape collective and individual address to ways are subversion, signal which of all plot, and characterization conventional of expectations, and propriety social of breakdown The abject. the to relation its on, later seen be will as and, representations— subversive of consisting also is it Here, act. subversive a is cinema the through public the to it upon focus a and topic this bringing then discourse, public the of part fully not is rape if that believe I forgotten theatrocity as aswar,especially since, Theidon anof notes: be not must that something is rape Wartime (464). action” political of form a are histories these period: postconflict the in implemented policies public the influence stories “[w]ar because have to important are These conflict. the of history the of part as all well as are strategies These all. at it in dwell to not decide or heroism, their of speak Many rapist. a by impregnated being avoid to themselves impregnated systematically they and ones, abducted their of returns the or conditions safer for bodies their traded they rape, their during back fought They conflict. the after and through lived they how in heroism immense show women women worked, These have (464). themselves” and families, their communities, their of I defense the in participated which with pueblo every in told been have I “… writes: (2007) Theidon As 179). (Žarkov2007: victimization” absolute of versions dominant the from differ hud lo nld te eitiuin f hm t toe h ere it earned who those to shame of redistribution (Theidon 475). 2009: the include troubling also a should indeed is This it services; and goods Peru. of redistribution the in include should Reparation silence. discourse public in discussed not The are conflict. armed internal the sinvergüenzas during and raped soldiers of systematically thousands who the about sailors discussion no been has there Peru, In [those without shame] forged during bloody acts of gang rape gang of acts bloody during forged shame] without [those for instance, the visual and narrative metaphor of the potato the of metaphor narrative and visual the instance, for 29 29 political a CEU eTD Collection of Part off. turn people where exaggeration may photo goriest the out seekwill filmmakers Llosa soinstead metaphorically, as does beabject. can throughher seen ofthe use abuse and terror of displays “pornographic” or details gruesome into going necessarily kinds these about talked have who women something There's 5 inside exists trauma This (248). people” most by unnoticeable trauma a frequently - trauma of terms in landmines these feel victims attack(s), the After victims. their of bodies the in horror of landmines implant torture of meanings “methods rapists’ the ofthat writing trauma rape behind contexts the on discussion their begin (1994) Wininger Kate with Winkler Cathy event. historical and narrative trauma, pain, with deals a it how at as look will abjection foregrounded and abject the of rape discussion My with subversion, and memory 2.3 remembering— in trauma memory—the of violence understand outside oflanguage.Llosa whatUsing the left audiovisual, is isabletoportray the in to viewer toits representationcommunicate that can modesof medium offilm,various allowing means a demonstrate speech of absence the and visual the both film, Llosa’s the to specific is In This none. are there or aside set purposefully are words when communicate if there andjusticeretribution asby cases arestudied inthereal-life promisesof Theidon. even avoided, be may so doing whenor words into put to difficult is that somethingrepresent Theidon herself says: says: herself Theidon the gruesome off off gruesome the aiu wy. hs da f iec i iprat s hr i mc ipiae i hw to how in implicated much is there as important is silence of idea This ways. various Powers of Horror be the case; but, but, case; the cries a human being makes before language is learned (Scarry 1985: 4). cries before makes ahumanlanguage islearned being (Scarry 1985:4). and sounds the to language,to anterior state a to reversion immediate an about bringing it, destroys actively but language resist simply not does pain Physical so of powerful powerful we the screen. 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Symbolic the within and subject being longer no now but being once of death, and life of borders fragile the presence its with signals it because abjection” of “utmost the is corpse The (4). that” “not and me” “not is It object”. an from as oneself protect not does one which I” to “opposed object, the to quality in similar is, Abject (4). Abject.” life. infecting death is It abjection. of utmost the is science, of outside and God without “seen corpse, annihilating The (2). reality an the acknowledged, is if is, this it day, corpse, one the die witnessing eventually of will experience traumatizing all We (3). subject longer no is but once was corpse the as mortality own our of reminder a is and horrorvisually us causes us, bodyscares lifeless the sight, traumatizing a is it as abject, the of example good causes a is corpse The it trauma. anguish, psychological causes abject the Confronting (2). excludes “radically” one that object” “jettisoned the is it collapses, meaning where place the towards one draws , the subject (1). However, it “is something rejected from which one does not part, from part, not does one which from rejected something “is it However, (1). subject the , 31 31 of its systems and orders— and systems its of it CEU eTD Collection not simply norobject— subject is body the Therefore, stable. arenot subject and objectbetween boundaries the Butpain. this of communication the as well as pain sourceof a find tryto to subject and object renderingof this of formation the to component key a is abject to opposed being is this and objectified, the object, the with quality one shares abject objectify, to other, make to externalize, to moves ego the the Kristeva, how For considers (15-16). body also the upon Scarry placed is which pain and suffering its of source the from the collectiveand vice body versa. for bodies, objectified arealwaysin “Ourlives lived not lives: our and ourselves perceivecan we how signify to body the of notion the for allow both but ideas, different two are embody to and body a be To somehow. inscribed be to is It environment. its in engaged and present being of perception, and experience upon rests it determinate, not is which embodiment, from differs This materiality. and biology by marked entity an is it although never object is solely body The embodiment. to relates it how its consider and to important is it subject first abject, as nor body of idea the upon object elaborating Before neither as status father, her and mother establishing from herself an as herself establishing while herself abjects so doing in and convulsions and disgust in milk of skin the rejects child The barriers. segregating protective, of instability the see to one allows abject The learned. is language before time a to back us bringing it, destroy can it language, resist just not does suggests, Scarry as pain, physical Hence,works. trauma with abjectwhere be cannot it is presymbolic, This prelinguistic. is it rationally, enter the not do you where is abject in of place the articulated: located is abject The (4). you” stabs who friend a up, you sells who debtor a it, inflaming of instead barter for body the uses that passion a smiles, I 3. hs a as b poetd ute, nta o js te hl sprtn and separating child the just of instead further, projected be also can This (3). it is abject. is it 32 32 it can demonstrate how one body isseparated howone can demonstrate it I Pi, hrfr, lo eis n this on relies also therefore, Pain, . I . The The . CEU eTD Collection n ajcin s nesod sn Kitv’ agmns Sr i al t sf-ur herself safe-guard to able is Sara arguments, Kristeva’s using understood as abjection and abject of presence the Through way. positive new a disassociating in herself and define to abjects father she herself, her knowing However, father. her knowing not by subject, as remain, self her sacred,of partthe would of sense wasa she missing if as felt She necessary arepulsion. into she subject” absence his reframed blank him of knowing but a father, her know not sacred; did Sara (6). the “discomfited” of sense no have probably “would child the father, no With abjection. the criminal—causes abject, and is order—familial rape of the disturbance order: of (4), law” the of fragility “the to shameless attention “the draws father, rapist” The 5). 1982: (Kristeva familiar” is “nothing literally, sense this in kin”, its recognize to failure a through “elaborated abjection is it away, father her pushes She (95). father” violent unknown, her from dissociation symbolic a means which move positive was a yet Sara and dramatic, how a in discovered hair her is off cutting it “thus head her when shaves she on, conceived, Later trait. similar a as hair Sara’s to Esma points father. her from inherited has she what mother her asks Sara hair. her specifically, body— the of alteration an involves it defy to attempt Sara’s body. Sara’s daughter her onto inscribed also been has Bosnia, in war the during rapes mass of out born daughter of protagonist main the Esma, of trauma the how describes she to the back Body Žbanić’sLanguage Trauma as of Feature theinJ. Films related of be Language can “The this and Lukić’s inscribe, as Jasmina well In as abjection. inscribed be and also abject can body the The of notions Kristeva’s frontiers. and barriers these of instability the of example an as but self, as or self, a of outside simply as body the at look cannot We 7). 1994: (Csordas us” to objects originally not are bodies our 33 33 and Grbavica and Grabica Na putu Na , a mother of a a of mother a , ” (2013), more more CEU eTD Collection s n kos it— knows one as world the destroy to seems raped being from comes that trauma and pain immense The 250). 1994: (Winkler mind” the and body the between separation a is there if as feeling victim the in results objectification this and body, the objectify body victim’s the traumatize “who rapists rape, wartime In thing). unclean the body, abject (the abject become may itself body the and thing) improper that is body violated the corpse, the body, lifeless the (like abject as seen be may body The tread. to where and when fears one uncomfortable, is it explode, rapists that notion Wininger’s and Winkler share I section, this of beginning the In thatcan a site becomes victims. The body their bodiesof landminesof the implant horrorinto The bodyexample ofthis. itselfisthe permeable. and unstable are boundaries forms these that us to that reveals abject The other (3-4). subjectivity and self between split the of aware us make they because repulsive are saliva and vomit urine, feces, as such wastes Biological object. or subject is what of outside, or inside be should what of boundaries, our of aware us makes abject The simultaneously. and/or pain mind, in this With others. in disgust cause oneself, with disgusted be community, the then secreted, the while object by caused is abject the of disgust The body. the of part not and of part time same the at are they as abject are secretions These (2-3). excrement and vomit blood, secrete: may body the what also is abject the Kristeva, to According instability. this demonstrates it when abject is body The self, a borders. of outside these simply as at of looked instabilitybe cannot body the the that of idea the example to now return an I as but self, as or to move symbolic a as head her disassociatethe father-rapist. herself from shaves she so, do to order herself—in establish and object n my e uhd usd o te omnt, slt href rm the from herself isolate community, the of outside pushed be may one abject is also not the subject. However, by coming from the body, by being by body, the from coming by However, subject. the not also is — ete ojc nr subject— nor object neither 34 34 eoe bt ojc ad subject and object both becomes not being an an being CEU eTD Collection to and us surround that objects the to stability and unity of sort some from derives subject, and self as stability, and identity our Since 12-13). 1982: (Kristeva abject the of operation the with occur to tends this and disrupted often is Order Symbolic the processes, these in and various on relies identity forward moving When language. and subjectivity of reaches child the as processes, continuous formation This mother. its from separation child’s the to contributes foremost and first abject the Order, Symbolic the reaching of process the in psychoanalysis, to according identity, an forming of processes early the In understanding. of means a becomes abject The abject. the by of work the accordingto it, arousedasknow culture, we that is note importantto is most What horror the upon founded is Kristeva, and use this chapter, next the in discussed be representation ofthe inthe bodycharacters will is alsoseen of As it. rejects she her, It disgusts abjects. She (ibid.). inscription” its from body her free and trauma the face to way her alsobody,her“is repelling cuttingofof hair,act her The 95). 2013: (Lukić violence” logicof the by overpowered be to refusal mother’s her confirms she hair, her off cuts Sara “when but society” the by ways of number a in evoked continually be to gets trauma her and through, lived she violence the by scared deeply remain does “Esma Sara, and Esma of story the In living. one’s frame to ways new arethere but lingers, it forgotten, never is trauma The world. the in being on and work facing Scarry’s of through discussed means as new and previously, with mentioned destruction as survivors, of Rape out come unmaking, and making abject the become vehicle uponexistence and ofreflection onhowtonavigate through it. trauma and Pain 70). 1996: (Das object” inner an to pointing simply is that statement referential a not is “it importantly, most denied”, or given be may acknowledgment, which for asking claim a makes it Instead, language. in existence one’s from exit an marks or communication destroys that something inexpressible that “not are/is trauma 35 35 La tetaasustada La .

CEU eTD Collection in the place of the uncivilized, of the abject. The mother— The abject. the of uncivilized, the of place the in voyeuristic uncomfortable provoking in elemental of analysis the to usefulbe will that theories Kristeva’s of experience.Much is It memories. evoking through fear or joy evoke to easy as is It elements. emotional and visual through emotions triggering by viewer the in provoked be can visual the in abject The 1993). Creed 1992; (Clover genre horror the of study the in particularly others, have as film, on study this to theory Kristeva’s take I matter. subject and film ideas Llosa’s the bring I to as chapter abjection following the and in departure of abject point a the become will Horror of theory Kristeva’s of abjectand femalebody femininegeneral toasupposed(in relation maternal function). in the to tellingly) rather (although mistranslated wrongly, sometimes, body, maternal abject this to horror certain a arises There world. social greater the of part become and language into enter to self, become to individual, become to away pushed be must which that becomes waste— child’s the of disposal and waste her blood, menstrual her warmth, her protection, The mother. the behind leaves she subject, proper” and “clean a becomes child the As disorderly— and filthy is that all is as place same the to relegated then is mother left behind as abject (13). abjected, is mother The convention. and language towards the turns of child the that Order, bySymbolic replaced eventually is itself finds first child the which in world and order maternal The mother. its from apart itself set to child the allows that abject the is It object. and other from apart self our tell to ability the as well as object, and self between other, and self between previously, mentioned as boundaries, of blurring the witness may also we where is ongoing, and complex subjectivity, of formation The entails. it that processes continuous and complex the of formations, these of precariousness the demonstrates abject The stability. and subjectivity this to threat a poses abject the of nature very the ourselves, attach we which 36 36 her sensuality, her breast milk, her milk, breast her sensuality, her La teta asustada teta La the mother is mother the

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is the exampleofthe corpse. mother’s the reminder of death cannot be present in a ritual that that ritual a in present be cannot death of reminder the 39 39 orr vmt disgust, vomit, horror, CEU eTD Collection in present is that memory, of terms in mother, and of daughter lack between The separation (18). abject” thinkable: assimilable, is what of boundary the at contaminated, condemned, “inseparable, are they singing, Through (135). putrescence” on bordering collapses— meaning where time and place a represents singing Their intertwined. are they demonstrates daughter duet and their mother singing, with begins film The (11). universe” human the of limits the of us abjection— rigidly, asign of forthargue toois put when it isnot boundary this that I mother. and myself between other, and myself between boundary a of recognition the is the marks therefore, abject, mother— our from ourselves separated we when The moment (12-13). present and past between it, preceded which that and culture between animal, and human between separation or border a established we when developmentour in moment the discusses Kristeva (10-11). unconscious and conscious the of establishment the before even representation, of and desire of objects its to relation subject’s the of establishment the precedes which that repression”: “primal a marks abject the consider to guide Llosa’s characters. film andits a providing violence, of death, and life of realities traumatic the of us oneself, to alien becomes there— be not should body what of compromised own One’s here. separation no is There daughter. and levels— various on bodies of mixtures be to seems There systems. belief their through shown as conflict memory, the from fully separate cannot community traumatic her and of mother, her case from separate the cannot in Fausta personally. as and collectively bodies, other from separated be cannot bodies when happens what consider to framework a provide can therefore, abjection, and abject In further developing a reading using Kristeva’s theories, it is also worth noting that noting worth also is it theories, Kristeva’s using reading a developing further In of remembering, as Kristeva writes considering Celine, “war Celine, considering writes Kristeva as remembering, of between victim and rapist, self and other, mother mother other, and self rapist, and victim between the abject. Both the abject and abjection remind abjection and abject the Both abject. the 40 40 from another body in order to be. It be. to order in body another from it “notifiesit a teta La CEU eTD Collection they extension, By works. narrative in found are both abject; the with associated breakdowns these over cover to intend sublime, or transcendent, The object. and subject other, and to self begin boundaries where of placebinaries linguistic the before a space archaic an with abject, confronted are we where the breakdown, of place the narrative the in literature modern explores best the her, to According poetry. and novels to attention special pays she but art, and religion to theories her ties closely Kristeva literature. specifically narrative, duty.It Fausta’s shemayat is fear that be any rapedmoment. on always not is watchman this that reminded constantly be to is body, the into it inscribe to order, disturbs which that internalize to abjection, internalize to Hence, goes. anything that certainextent, a to relaxes,isproof, it repression When (4). chaos oforder, law”, lack the the of “fragility the to attention draw they because so precisely are circumstances such under committed crimes of abjection The rape. wartime and genocide like crimes horrific include can so, and, rules” positions, borders, respect not does What order. system, identity, disturbs “what with it do to has described, and have I as Abjection, away, vulnerability. of state the looks demonstrates watchman The (13). as relaxed” soon is as watchman, it constant sunders the that repression, abjection an upon rests myself recognize or behold I which in image beautiful less or “more the that so from, myself separate I what from and not am “ Abjection a breakdown: this to reaction our constitutes in order tosurvive. forget not do function: same the with persists that Kristeva, of memory archaic the like much asustada To bring Kristeva’s notions to film, it is important to consider her approach to to approach her consider to important is it film, to notions Kristeva’s bring To forget not To s dsuto o odr n iett bcue t rsns gnaoia memory, genealogical a presents it because identity and order of disruption a is is a precondition for narcissism for precondition a is highlights how there is a threat that meaning is breaking down and it and down breaking is meaning that threat a is there how highlights ”, it is before being “ being before is it ”, 41 41 reestablishment f u (rml repression. (primal) our of like ” something, it is what is it something, ” I

CEU eTD Collection rtr t tee oin o voec, iec, n hro i m aayi of Kristeva thatwhile thesis, ofthis context the note for analysis my in horror and silence, violence, of notions these to return I asustada mechanisms and language in deficiencies shows literature like Cinema discourses. cinematic particularly perspectives, other within put be can arguments her of much psychoanalysis, and silences: poetry” of “violence the in out plays horror and suffering of theme this how signifying out”, “cries narratorwhen issuffering, she the narratingof thedifficultysuffering” in speaks (140), for “cache a is narrative that arguing in also, Kristeva level. audiovisual an on but film does so meaning, and metaphor grammar, with play to willingness a has poetry that argues she as Just hurt. and loss of fear abject the with involved and arbitrary once at is language that fact the demonstrates poetry like literature Kristeva, For film. to and especially this lack extend I language desire. demonstrates that project a is then, Literature, (207). abject” altered, barely only or exist not do etc.) sociohistorical its what matter (subject/object, identities where cases) no (borderline border fragile the on be, rooted, might conditions me to seems that apocalypse a the probably of is version literature “all notes, Kristeva As cinema. and storytelling in found be can find neither narrative nor theme but a recasting of syntax and vocabulary— and syntax of recasting a but theme nor narrative neither find would one abjection, to approaches the along still farther proceed to wished one If representation. narrative a within abjection of states such of evidence ultimate the is suffering-horror of theme the words, other In suffering-horror. of theme crying-out the is abjection, called have I that boundary-subjectivity a to yields theme narrative The poetry). to text the relates a that of rhetoric or obscenity, of violence, of (language intensity stylistic maximal with be longer no can him sustain sup- to are posed that surroundings the of and narrator the of identity unbearable the violence ofpoetry,and . Although I have taken time to cover various notions of her theory, it is important to important is theory,her it of notions covervarious to time takenI Althoughhave . ht we i tns o onie ih h icnecn sae o a of states incandescent the with coincide to tends it when that, silence (141). (141). silence so — double, fuzzy, heterogeneous, animal, metamorphosed, animal, heterogeneous, fuzzy, double, 42 42 narrated narrated maintains her discussion of the abject in abject in of the discussion maintains her but cries out out cries or is or crying-out descried descried the a teta La CEU eTD Collection perceives herself as an abject, as a ‘dirty’, ‘marked’, a morally inferior or incapable person. person. incapable or inferior morally a ‘marked’, ‘dirty’, a as abject, an as herself perceives often victim rape The 117). 2005: Lausten and (Diken abjects” into women transforming by communities “destroys rape of act The 140). 1982: (Kristeva feature” public its horror and suffering is side “intimate its as rape, of trauma harm. the consider bodily to used the be can than Abjection worse even be some for may rape of trauma the be but pain, can considerable rape physical by caused the damage physical from The rape. coming defines that much violence and very penetration, also is but affects psychically pollution This abject. the of notion Kristeva’s with film Llosa’s of reading my to significant is body the polluting and in coming outside the of notion this nation, the to relation the only upon touch I analysis my in Although 95). 2013: (Lukić it” ‘polluting’ thus and body’ ‘pure national assumingly otherwise and into blood’ ‘foreign introduce to vessel a as to or territory conquer, a as it using is and body female the over power have to assumed masculine is principle the “where is rape Wartime significations. other to points also but way, same rape of trauma the often is it damage, physical than the ramifications works rape, greater all like has rape, Wartime Rapepsychically. harm cause to continues and persists that Rape 3.1 Abject/ion and the following section. in this discuss I and ways, several in present is abject The community. her does as abject, as body own her sees Fausta socially. and personally abject, metaphorical and social a but site, historical a or battlefield a just not is body, woman’s the especially body, the how consider under body,the to connectto Kristeva’sidea will Iapproachingliterature. Kristeva’sfor framework considered be can therefore, narrative, Cinematic sounds. and images through but means— different by them with engage to able is it but desire, of 43 43 not just text and language, and text just not CEU eTD Collection protect to shame, avoid to agency of moments find who then, rape, of survivors The victim. rape the in similar works also This rapist. shameful the does as trauma from suffer not does rapist shameless The abjection. to points that rapist” “shameless the writes, Kristeva as is, trauma, arises thatIt extent. certain a to shame it, from themselves remove from to able were soldier-rapists these is therefore It it. incites guilt while verbalization resists Shame shame. erasing individually while guilt in together initiation: of rite a becomes Rape aside. pushed is shame individual guilt, collective Through unified. are perpetrators the of gang the that guilt soldier’s the through is it how to point they woman, the victim, the raping by taboo of transgression the upon part in based guilt” of “brotherhood a forged war Bosnian the in Lausten’s gangandIn of abilityrape discussion guilt.Diken how its andgive rise toshame to 2004, (Theidon rampant were rapes gang and violence sexual Bosnia, in like Peru, by Inabove, mentioned as abilities, polluting its by marked is rape Wartime 2013). 2009, 2007, community, body, areupand shaken unstable. motherhood, of boundaries, The (113). it) by polluted feels (she outside fully nor hers), never is child (the inside fully neither is baby” “war the of case the in abject the that argue They child the thing. aabject: alien,disgusting a object, an as an women notmost, by some,might if beseen pregnancy, forced of cases the in Bosnia, in rape wartime Lausten analyzing and in (2005), Diken by discussed As community. her by chastised condemned, being by second and raped being by first dually: suffers victim rape The her. upon perpetrated is what of because members family by and neighbors by chastised be may victim the well: as this to aspect communal a is There violence. and rape wartime by system the of disturbance the demonstration ofits of isabjection war,it by alsoremove signifiesreality presence it.Her the cannot she and marked feels body her be because cannot abject as that herself perceive stigma may She a effaced. but mark a only not is body her upon inflicted penetration The 44 44 CEU eTD Collection this Still, meaning. of inscription through way that becomes it own, its on filthy or impure is Nothing 116). 2005: Lausten and (Diken hermit” the for case the is as purity spiritual of sign a into elevated be can filth traditions some in place… of out being as appear they when only impure considered are objects some that cultures, all in avoided not are objects impure should we that us reminds It discomfort. provokes abject the above, mentioned seemingly As that documented is “it However, impurity. from away keep to foods, rotting avoid sense, but toachieve that intends it. binaries— these outside is it order, of outside is notes, Kristeva as abject, the Since brotherhood. this control— exert somehow to war in tactic a as used be can it that but shaken be can order easily how show only not that implications has It this. than more is it abjection, to regards in argue Lausten and Diken as but, conventionality, and normality threatens presence its through what is abject the to Perhaps abject. way the consider only the not is it However, survivor. rape the of consideration and to negative connection obvious an is there then disorder, disgust, anxiety, provokes which that as seen is abject If afterwards. so remain may and acts violent social these in abject become the Women order. of outside becoming of signifiers as abject, as read be can survivors rape how to points also It rape. within inherent possibilities destructive the to points then, Abjection, abjection. As DikenLausten and rightlyargue: of capability destructive the from does, Fausta as system, the of fragility the from themselves or in guilt to use the more common term (124). or in guilt use common term to themore (124). the of side the on abjection in brotherhood a and bond, symbolic strong a create to works it offender, verbalized, be cannot it because impact destructive a has abjection victim, the of side the On sides. both on works thus Abjection t s nitnto isl, t s omeses I cn e ht hc de nt make not does which that be can It formlessness. is it itself, indistinction is it 45 45 the control of the soldiers for example through example for soldiers the of control the CEU eTD Collection horrorism suggests Cavarero perpetrators. the of those of insteadoriented, be should perspectivesvery current thesetheir andthat helplessness individuals through is it how discussing violence, of victims ‘helpless’ the upon concentration a for argues She (29). horror” of realm the in them locates which violence, contemporary of scenes many so of character repugnant peculiarly the emphasize to meant “is Horrorism through that argues (2008) Cavarero Adriana it. address that categories current through understood fully be cannot present the through past 3.2 From Horror to Lausten 2005:116). and (Diken jerks and spasms causes that character”, corporeal reflex-like and “provokes bodily that a of matter responses abjected is it For anxiety. and fear disgust, of reaction certain a provoke does film Llosa’s Overall, work. at features similar still are there drama, in work similarly to appear three all how illustrate to intend I sections, following the In as (11). figure abject” maternal the of construction the in abjection of work the illustrates film horror “the Thirdly, (10-11). abject” is ‘border’ the cross to threatens or crosses which that film; (10). horror in monster wastes the of construction bodily the to central and is border the of corpse concept “the Secondly, the especially abjection”, of images in “abounds film horrorthe first that argues She (10). abjection” of work the of illustration an ways, three least at in be, (1993) Creedto film. appear horror the “would to abject film and horrorabjection on the work Kristeva’s that bring now monstrous-feminine I the to regards in argues anxiety ofourselves. reminds it usaboutthelimits ownbecause onits and disgustcorporeala abject incites matternot, than often most that fact changethe not does La teta asustada teta La Drama Drama . Although horror is not what is at work in this film, as it is a is it as film, this in work at is what not is horror Although . 46 46 horrorism

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CEU eTD Collection t s e cnieain f h wmn s hrii entity— horrific a as woman the of consideration her is It in that outlines she horror, (10). monster film horror the to relates she which abject”, the to relationship to special a woman regards in abject the of notions gives turn Creed’s “in this to and objects” return polluting to I related specifically is woman view, “Kristeva’s How the abject doeswork this inthe andvisceralhorror reactions? produceemotional film? in memory traumatic to discussion this extend later will I horror, to related reactions same the find I and fascinating. writes: (1993) Creed repellent both are These abject. the experiencing and witnessing in desire some is there that what of us reminds abject the If paradox. interesting an demonstrates film horror The demonstrate films Horror gore? and monsters fear, with fascination the why avoided, be must cinematic does horror approach thehorror film? this—specifically How approach. to difficult very and real very is fantasy, in imagination, the of instead life, real in Horror, (32). itself” death exceeds that violence of form particular sickening— and discomfort level— ontological its at condition human the offend ild ih evriy t trw p t trw u, jc te bet fo the (from abject the eject out, safety seat) ofthe spectator’s (10). throw to up, throw to perversity, with filled been having once desire, also but undifferentiated) the for terror/desire with actually are we filled images/being horrific sickening, (confronting pleasure perverse for only me’, of out not desire a signifies film horror the Viewing sense. literal shit a in almost - work’ the ‘scared or ‘abjection atof or abjection’ a ‘work horror filmas foregrounding specific that sick’ me ‘made film In terms of Kristeva’s notion of the border, when we say such-and-such horror such-and-such saywe when border, the of notion Kristeva’s of terms that I wish to foreground. In her work on the monstrous monstrous the on work her In foreground. to wish I that a ea asustada teta La 47 47 B loig t h ajc t produce to abject the at looking By . for “horrorism is characterized by a a by characterized is “horrorism for h te es ta i arouses it that sense the the La teta asustada teta La . How does does How . CEU eTD Collection unpublished, unpublished, myth woman body (11). abject body” and the pure the abnormality, and normality impropriety, and propriety supernatural, and natural the inhuman, and human the evil, and “good between borders of fragility the confronts that being a is monster The monstrous. the in present is stability, its and Order Symbolic the threatens that abject, the defines that borders of crossing The above. noted as 10), (3, sick feel to as uncomfortable so someone may make that images watching from derived “perversepleasure” a for allow films horror in abject of importance the that suggests Creed (3). body” feminine the corpseand the death, and decay perversion,alteration, corporeal immorality and sexual of notions historical “ancient in grounded is horror in monstrous the how discuss to previously, to pointed already have I as abject, the of notion Kristeva’s upon elaborates Creed aside, than rather castrator being women in grounded this that argues She (1). woman” (7) subjectivity feminine than fears male about more speaks feminine’ ‘monstrous “castrated the of theory Freud’s and monster male the of notion the challenging (3), monstrosity” of construction the in “gender foregrounds difference “sexual to linked are society monstrous- This (3). monster’” ‘male “the feminine— of reversal” simple “the of instead genre, consideration the that demonstrate to now work female this mention I body. female “monstrous” the control (University supervised Transformation”, Analysis Cultural Feminist Master Mundus 7 feminine kinds kinds though though program. GEMMA

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the myth and critical discourses surrounding surrounding discourses critical and myth the in Granada. Granada. 48 48 to the current studies studies current the is as used castrated (6). Putting castration anxiety anxiety castration Putting (6). castrated In his thesis, Zairong studies the Chinese snake- Chinese the studies Zairong thesis, his in relation relation of Granada) and Prof. Ann Heilmann Heilmann Ann Prof. and Granada) of of my to this relation relation this the monstrous monstrous the w. lhuh hs thesis this Although own. embodiment embodiment of the White Snake: A A Snake: White the in studies studies in an n patriarchal in literature, even even literature, d gender gender d it : have tried tried have the fear is is fear the of various various of in the the the the to is

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Alien Alien (1979), she provides an example of how of example an provides she (1979), , a seven-member crew in suspended suspended in crew seven-member a , ’s relationship within the within relationship n h cs of case the in a teta La CEU eTD Collection ask to us beg They anxiety. and discomfort create that scenes a and marginality various encounter we drama, of a is film this Although violence. senseless extreme, of reminder boundaries, violated of notions these represent do but term In the of human beingsarecapable of committingone towards another. violence extreme the us showing by way, different a in us terrifies it horrific, is experience and story her but monster, not is mother the film, Llosa’s in monster; as shown is mother thefilm, Llosa’sinIn handfilm. horror at is whatway readingsuggest of that one horrorfilm the within Creed’s and work Kristeva’s within mother archaic the of reading the to elements telling are there however, thesis; this of scope the in so do necessityto no is there as analysis, film my to regards in abjection on theory Kristeva’s apply to psychoanalysis surrounding discussion deep a enter to wish not do I analysis, my through understood be can As fully. so do to unable is she violated, being of fear extreme her and corpse, mother’s her of presence lingering the with but, engagement, more with world social her enter to forced is she gone, cousin her mother her by With others. with speak out to refuses often she pointed and alone walk to afraid as is Máxima, Fausta, self. of lack her of because world the by terrified story— mother’s her and mother her from fullyseparating not byself of sense a lost has Fausta that Isuggest (28). ego” or self one’s losing of self-disintegration, of terror a to rise gives [which] film horror the in represented as death with “confrontation this is It death”. “psychic a death, of form a also is mother the from separate to But film. horror the in reabsorbed, be may one which toemerges but one abyss Itthe which fromdeath”.is - extinction of blackness “the aspresent Using self. a become in mother archaic and the that suggests Order Creed mother, archaic this the of notions into Kristeva’s enter to child the for order in away pushed La teta asustada teta La h i fre t d s b hr et, u ee bfr s, h seems she so, before even but death, her by so do to forced is she , Fausta and her mother are not conventional monsters in any sense any sense in conventionalare monsters not mother and her 50 50 why ad hy lo provide also they and , Alien is CEU eTD Collection utilizing by seen, or abjection. spoken be always cannot which that reproducible, nor imaginable not is which that visualize and imagine to audience its obliges film the as Fausta of terror and trauma the understand to possible becomes It readings. new memories, new imaginaries, new for pushing by engage and reveal shock, to able is film Llosa’s that abject of use the through is reminder It the abject, histories. the using and of notion memories the upon metaphorically reflect communicateto wish to I continuing, means Before a as materiality, our of comes shortlyafterward,Fausta’sroots, among ofthe trimming others. which hospital the in scene first the deathbed, her on mother Fausta’s with earlier mentioned scene opening the this: demonstrate that scenes various describe will I chapter, following generate the In 51). help 2010: (Chauca will repressed have we somehow that discussions which the have awareness, then to arguments, an issue, an raise and out point read, to attempts but reality portray to pretend not does she that interview an in says Llosa work. sh Llosa violence. outside and in live that horrors the realities, these confronting text, Theidon’s reading to to reaction her retransmits means it what on perspectives and metaphors e experiences when reading the testimonies of these raped women, in a cinematographic a in women, raped these of testimonies the reading when experiences e

51 51 CEU eTD Collection the In audience. its for provides film the scenes and shots the onto them placing exteriorly with, engage can audience the something into them making mother, her and Fausta of worlds accessible less internalized, the out bring to seem metaphors These representations. dynamic affect— their through synopses visual a images, as power hold body ever-present mother’s the and potato The movie. the after of metaphors bodily The implications. metaphorical their through or screen the on given the representation through literal read be can bodies Their bodies. their and mother her and Fausta characters the through trauma of expressions engage to and able is audience the chapters, representations previous the throughout collectivementioned have I As and individual these with the counteract to attempt to destructive pain. potentialof that pain, their of some of image an them gives she extension, worldly a war the of survivors hurt the provides Llosa narrative, and characters her Through recollections. official behind or in time lost or asideget itleft let not to spoken, storyless a of view a give to place, in world the hold to intends also Herstory world. the in place a memory 4. Fausta Perpetua and lui Loas im ned t gv a idvda ad olcie anu, traumatic painful, collective and individual an give to intends film Llosa’s Claudia great pain or sickness can be swallowed alive by the body (Scarry 1985: 50). great be can alive painorswallowed sickness by body(Scarry the 1985:50). in person a which with force the counteracts pain, and sickness of power lessens the sympathy world, the in place a pain the giving by or place, in world that holding By self-extension. of powers own his regains himself sufferer the or body, psychic sufferer’s until the powers person’s that by other’sintact there held and world the outside into out projected space the the of in existing image image an an claims, into sentient himself turns willingly free well is and who being human one to, unable is he while concerns nonbodily his of one articulating in or pain, person’s another expressing and acknowledging private in in self-extension: worldly with person hurt the or provides sympathy, of contexts here occurring whether concern, and contact human of act An La teta asustada teta La

they contain the story, or elements of the story, in their their in story, the of elements or story, the contain they seem to be what stays longest with its viewers, long long viewers, its with longest stays what be to seem 52 52 s CEU eTD Collection rape: heterosexual andhomosexual both to referring notion, her elaborate to continues She (20). excellence” par act speech body the A “is rape how argue individual? to on goes certain Bal body? the to a relation in speech to of what And woman? delegated not is speech of power the if What speak? cannot only not that utterance performative a one if whatBut describing. is it reality that changing is but realitygiven a passivelydescribes married, become to is do” “I say To (3). deed” the accomplishes word the of utterance the where marriage, is example Bal “favorite the as notes, spoken, being through enacted are that acts those are Speech-acts speech-acts. of theory Austin’s J.L. language of philosopher with works Bal Beth, of analysis her In (ibid.). her names Bal (1). house” the from expelled when killed and gang-raped and house to house from dragged “is victim whose Judgesof book the of 19 Chapter to attention particular pays and them), names (she names without victims are who women young three of role the stand to power the has also speaking but communicate, to is something of speak To Baldiscusses Mieke Rape”(1988), of Narrative the andNarrative of Rape In“The action.for certain therepresentation is aextent, bespoken. of represented, what thatwhich cannot be of cannot to accomplish, to able are metaphors bodily these what cinematic, the of realm lo nat fctig fdvdn ls,dsryn t woees hne the hence Itsubject. alienates from herself the victim wholeness, its is destroying flesh, dividing act of cutting, of act the an is also It enhanced. Often, be to needed act hatred. the of meaning symbolic the the if as language, speak verbal to offensive through?) accomplished say: we is should (or by accompanied rape To androcentrism. and gynophobia parallel heterocentrism and Homophobia men. rape will them to attraction their and men fear and hate who men while women, to rape will attraction them their and women fear and hate who is men lust, it by not hatred, and by object, the of hatred beingRapemotivated men. by committed heterosexual often by is it ‘logical’that motivated equally is loner. frustrated rape excusable Homosexual the as not hatred of full misogynist as rapist the lustful; not aggressive, as act the experience victims rape that known well is It 53 53 and it is meant doso to is and it

(ibid.). Beth Beth CEU eTD Collection hatred— Llosa which in way The listen. to made are We ramifications. public very has that exchange subaltern— figure marginal a as us to demonstrated is who forget, not does she so daughter her to sings who mother, Fausta’s to. listened not is it scandalous, is it but rape, of language body destructive the after even spoken becomes unspeakable The (21). speak” to permitted not is it body: speaking the of scandal deepest the listenedTherelies not to. is speak it becauseto bodyfails speaking “the her,for speaking and rapists the to over her handing one the is who husband, Beth’s to regards in out, points Bal as Yet, agency. of position a claims she song, producing and making by sung; not was it if powertestimonial same would nothave uttered. the Perpetua’sway spoken story findsa tobe perverse a by but speak, can be body cannot dead What “Beth’s (18). that speaks” suggestwho herself,Bal not Beth, her, discussing subjected In totally who man the is it twist violence andforegrounded. as are just present and trauma the although narrator, of position the Perpetua gives lessened, is Hatred agency. that up takes singing of act speech body Her words. the sings who Perpetua, to it gives and rapists the of agency the of some removes communicated, verbally being and seen being not by rape, of act speech body the herself, Perpetua by sung, but represented, not is rape the As deed— certain a accomplishes act speech body as rape the that meaning excellence, par contiguity of act speech the aggression its and excellence par act speech body is rape If victim. the into hatred moving is It else. someone into get to is therefore, rape, of aggression The relation. physical a something, with contact direct in being of bordering, of state the is one theother”contiguity body(ibid.).Contiguity into by excellence. par The hatredisspoken of speechactthe is rape “aggressionof the speakinghow ofalso argument, her continues She and signifies a physical relation, this provides a telling reading of Perpetua’s rape. Perpetua’s of reading telling a provides this relation, physical a signifies and sings in the privacy of her bedroom. We are permitted a view into a private private a into view a permitted are We bedroom. her of privacy the in sings —as woman, as elderly, as migrant, as indigenous, as indigenous, as migrant, as elderly, as woman, —as 54 54 here, CEU eTD Collection ae wmn o ht asa os o esl t poet esl. rsn i te im s a is film the in Present herself. protect to herself to does Fausta what do woman a make 4.1 Fausta andindividual collectivememoryand the outside narrative. inside how upon reflections with chapter this end will I screenplay. to testimony real-life from move the exploring before mother her to return then and Fausta are we that discuss Ifirst will sections, following Inthe body. the usingstrongestmetaphors the provided film the within story her and Fausta of representation the through however, corpse, her death, her Through scene. same the in dies and is, It story, collective. and her individual sings for both Perpetua memory, of violence the of metaphor a given are we entersreality.connects tothe herstory. us into traumatic She audience the song, through speech of act bodily her through body, singing her Through war. Peru’s during violated were who women the all of rapes the of sings she rape, her of sings Perpetua When (18). nation” whole the to speaker the “becomes who subject” destroyed “totally a is message a as tribes the throughout pieces to sent and dismembered but raped, only not is who Beth, as position of type same this in is therefore, Perpetua, remember. to actItan is sings.instead so speak,cannot many ways, Perpetua,in effectiveness. andpotency its creates that sound and visual the of relation the is It medium. cinematic the of because It rape. seen, or abject— spoken in based metaphor a becomes be cannot which that portray to way a becomes singing, Here, audience. the in response a create to meant is it seems it and audiovisual the in act speech body the of power the demonstrates scene this set-up and portray to care considerable takes La teta asustada teta La forces us to consider, to imagine the type of pain and fear that would that fear and pain of type the imagine to consider, to forcesus in speaking of the horrific acts—functioning as it does does it as acts—functioning horrific the of speaking in 55 55 La teta asustada teta La engages with engages CEU eTD Collection the pillows of her bed, her of pillows the care didn’t “they that sings she When care”. didn’t They / night That / raped was grabbed continues voice The understand”. will You / day one sung are words first The begins but sense the strongly more translation 9 8 beauty serene a share wrinkles Her closed. eyes her with words penis descri she things the but beautiful tortured and raped being of image brutal a painting lyrics continues she deathbed, her realizes, soon audience fades black the story. Fausta’s Although experiences one and orenough. speaking are notpossible language sometimes However, significations. multiple their in justice and relief compassion, (38):find to order in recognition” speaks one and interlocutor for their to pain one’s “demand moves one language a through calls (2004) Theidon what is pain of expression The memories. violent the and painful, the disastrous, the of results the communicate to necessity however, however, provide will I All lyrics and dialogue cited cited dialogue and lyrics All Velez (2011:37) analyzes this same opening scene with similar readings; however, she uses the Spanish Spanish the uses she however, readings; similar with scene opening same this analyzes (2011:37) Velez it also announces and brings brings and announces also in in e muh te odes hns ee vrwee Se ig te sad the sings She everywhere. were hands soldiers’ the mouth, her if darkness. of Quechua Quechua

vergüenza my own translations translations own La into there are limitations limitations are there an is teta asustada teta used, I rely solelyrely I used, the image of a woman a of image the We (shame) (shame) vn, h fl bgn wt song with begins film the event, of shame, arguing that the uttering uttering the that arguing shame, hear a disembodied voice come from the screen’s windy black windy screen’s the from come voice disembodied a hear an in elderly woman elderly in this thesis are based upon the English subtitles provided provided subtitles English the upon based are thesis this to as Quechua, their translation their Quechua, sight the invisibility theinvisibility sight the word breaks away from the darkness darkness fromthe away word breaks the

if fitting when I feel they reflect more closely the dialogue dialogue the closely more reflect they feel I when fitting opens with the scene between mother and daughter. and mother between scene the with opens bes are horrific— are bes on the provided subtitles. subtitles. provided the to articulating —

in named Perpetua— named bed. She bed. 56 56 of the crime and and crime the of she was forced was she this word word this in to is to 8 language what has happened or how how or happened has what language

sing: “This wom “This sing: appears against the black: “Perhaps, black: the against appears seen sing to during her pregnancy. The song song The pregnancy. her during sals te eatr pit of point departure the establish its is up obscenity. obscenity. what not only illuminates the screen screen the illuminates only not what on an to of close, her head her close, not just any bed any just not the light. light. the autobiographical song, song, autobiographical the marks of marks the to put her dead husband’s husband’s dead her put an Her by who sings / Was / sings who the DVD. DVD. the readings highlights highlights readings and laid time but, but, terrifying in back that Spanish; Spanish; At And abyss. abyss. as times, times, the are on 9 its ”, is it

CEU eTD Collection arrange the bed. thearrange continues background, Perpetua next back sits her mother, Fausta act. this through painful, although alive, histories their maintain communion a form both again, Singing Fausta, of face from entering Then mother”. cry, you When / remember to itself situates audience The self the self, cinematically represented camera, the does and image of absence very fading The and entering of composition scene cuts, comes camera The her. behind window the with mother, non disembodied spectator voice another Soon The singing. shared also

what specific we to to

returning returning are otne singing, continue by of the protagonist protagonist the of ig w sing manner. manner. we the cracked wall and the bed-frame bed-frame the and wall cracked the listening while continues: continues: while Foregrounded, Fausta Foregrounded,

no hs es o ls, f h fa o lsn oes ef which self, one’s losing of fear the of loss, of sense this into can to deei vie nevnn ti song. this intervening voice -diegetic in the the e mte, oig no n ot f h fae hl continuing while frame the of out and into coming mother, her ith to e wnos a elw ud adcp, r ad raie. Fausta urbanized. and dry landscape, hued yellow a windows, see and sound, sound, It

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song between generations of suffering. They They suffering. of generations between song 57 57 align ourselves with Fausta. Fausta. with ourselves align to eoe black, becomes the spectator the it of is it to

we is

an

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the camera” (Creed 1993: 28). 28). 1993: (Creed camera” the screen. screen. infig h oltrto of obliteration the signifying

loss, loss, to at bring us into the story the into us bring hs on, she point, this asa rm here. from Fausta of the frame, there there frame, the of fear, fear, is itself trauma, trauma, infcn. The significant. a strong contrast contrast strong a We through fade out, out, fade through

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to can so of the civil war. Fausta’s mother, the victim of horrific horrific of victim the mother, Fausta’s war. civil the of eaae herself separate is only f, be witnessed working witnessed be

while she tri she while describes Fausta’s particular ailment which ailment particular Fausta’s describes she an herself, herself, we to abject reminder of the violence of Peru’s internal Peru’s of violence the of reminder abject she also suffers from the rape she survived. she rape the from suffers also she approach and get nearer nearer get and approach by are a story not told, told, not story a is 58 58 her death. This This death. her to o fly eaae fo hr ohr and mother her from separated fully not she she in end is present-day Peru and that and Peru present-day unstable and, unstable is this story, of helping Perpetua reach her her reach Perpetua helping of story, this es

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ohr and mother h brelns f Lima. of borderlands the it others also seem anxious seem also others begins, from the absence absence the from begins, to more elaborately more the scene where the where scene the in in the characters that characters the her her As to bury her mother mother her bury I argue earlier, earlier, argue I community. the violence the daughter sing sing daughter links her links in The The her her to The the

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CEU eTD Collection asustada little Severina, is closest Carmela, aunt Fausta’s composition. scene’s crowded,worn-down, old, looks room The Lima. of peripheries the and paint cracked clo can each dead her violence, there abjects, no state—with periphery even some here, people The neighborhood. their more card. we and oil the with sick” and state the of example another and family Fausta’s of women the one who seems seems who one the prove their existence existence their prove th clearly see the bottom of Perpetua’s feet, but her body her but feet, Perpetua’s of bottom the see clearly to side of the bed, the of side dead ones, dead body, still still body,

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speaks: “We’ve helped “We’ve speaks: the conditions conditions the asa who Fausta, an in proof proof h peig alae on wallpaper peeling the e wee h hs asd away, passed has she where bed affectionate diminutive affectionate with the camera facing straight on, straight facing camera the with to to of hand hand of be leading the preservation of the body and asks a younger woman, younger a asks and body the of preservation the leading be her mother, but did not escape all escape not did but mother, her to being born… and born… being the authorities? authorities? the her her is of to omnt ae rsrig e mte’ crs. Perpetua’s corpse. mother’s her preserving are community herself the conditions of the of conditions the

be face. buried buried bowl bowl room and room many refugees from the south, escaped the violence, violence, the escaped south, the from refugees many abject within within abject so We with with to of many preserve their preserve many other places. Their places. other in Fausta, affectionally calls her daughter and daughter her calls affectionally Fausta, We much less much a se h bed the see can 59 59 h wl behind wall the muertos its the the didn’t even have a picture, even picture, a have even didn’t “I

inhabitants, inhabitants, don’t want don’t hot hot pueblo joven pueblo to is , Perpetua’s head Perpetua’s oil. oil. the dead. the it. surrounded directly from directly of being killed”. Carmela here adds here Carmela killed”. being of She Severina Severina takes the bowl. She rubs the body the rubs She bowl. the takes is of underneath a sheet and sheet a underneath the room room the fae gi bt hs ie its time this but again -frame

to is its it She continues: “How could “How continues: She , someone who escaped the the escaped who someone muertitos be infected infected be within this community of of community this within r mr prominent. more are the young shantytowns, young the effects: the disease disease the effects: community located located community especially

says, “This “This says, by the foot of the bed. the of foot the i women, six being at the top of the bed, the of top the ”. Their by an so is extension extension her nipple,” nipple,” her through

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in We is the hospital, her doctor, dressed dressed doctor, her hospital, the ae fr peevd touched, preserved, for, cared of learn during the first first the during learn it to

wastes”, is is the audience, the of through her her through the one who shocks us the most most the us shocks who one the spoken the fragile borders between life and death (Kristeva 1982: 3). 1982: (Kristeva death and life between borders fragile the rtc herself. protect to of which “is a border that has encroached upon encroached has that border a “is which in the war the of all the different examples of the abject. Fausta, however, our main main our however, Fausta, abject. the of examples different the all

body. in as the dialogue between her uncle, Tío Lúcido, and Lúcido, Tío uncle, her between dialogue the is

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to this framing. The doctor tells Tío Lúcido about the the about Lúcido Tío tells doctor The framing. this In the hospital that Fausta has inserted a potato potato a inserted has Fausta that hospital the in is feel uneasy uneasy feel h see ih bfr ti itrcin Fausta’s interaction, this before right scene the his white medical gown, and uncle are seated one one seated are uncle and gown, medical white his occurring with the presence of corpse, “the most “the corpse, of presence the with occurring referred it although centered almost individually, appear 60 60 of rte srne and strange” “rather to in Carmela, Fausta, who, because who, Fausta, how the memory of violence, of memory the how in or react while also providing a false false a providing also while react or to the presence of the dead the of presence the At affectionately— in to first, her uncle seems not not seems uncle her first, the presence of the of presence the remove the potato the remove

faints faints each everything”, uuul fr young a for “unusual” character in of front of her family. her of front her illness, illness, her perhaps causing causing perhaps her doctor her Yet, here, the here, Yet, so — of its co on they seem seem they trauma, trauma, something presence rpse, and is to in able pay and her off off on is

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order is conventional dismissed. The abject here— abject The dismissed. of to say, his eyes barely lifting from his desk as he ends the conversation, conversation, the ends he as desk his from lifting barely eyes his say, fear.There so How could Fausta do Fausta could How to easily, especially what Fausta has done done has Fausta what especially easily, to continue with business business with continue the doctor’s words, doctor’s the sta was born during terrorism. And her mother transmitted her fear through her through fear her transmitted mother her And terrorism. during born was sta why she fainted”. she why in He real life, life, real shares the reasoning that reasoning the shares medical medical She was born that born was She exist and exist as is

no no we illness illness call anyone born that born anyone call visit: visit: it much less much demonstrates this this like “Here referring referring He se les eas o te lns, otr bcue f the of because doctor, illness, the of because bleeds “she the indigenous knowledge, the potato the knowledge, indigenous the to as or pay attention attention pay or this this the “the bleeding isn’t related. Her capillary vessels are are vessels capillary Her related. isn’t bleeding “the the continues saying that saying continues way, no way, herself? How herself? usual. However, the audience does not brush away such such away brush not does audience the However, usual. la is transmitted transmitted teta in

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She has learned to learned has She fearful. so longer no is she the plant she had demanded had she plant the huayno — of of CEU eTD Collection 4.3 From Testimony to Screen Play to Mother to Daughter 4.3 From Daughter ScreenPlay Testimony to toMother to stories these alive—something alsointheLlosa very writing seen andher ofproducing act film. keeping of importance the pain, and this storytelling of Through power (34). the violence lies also and however, pain of power generative the for metaphor a as functions also film the in body Perpetua’s then power, generative her of fear essentially be to out longer turns mother archaic the of fear the Kristeva, following Creed, no for If sing. or speak move, can body the though even illness, an of memory, a of history, a of carriers the still are womb, defunct her body, lifeless Her This trauma. and rape of disease. embodiment the is disease devouring a holds she because daughter her but anyone by touched be not will nipples Her contagiousness. her and signifies she what by but wound infected her and anxiety— an generates still mother, archaic the of role the to loosely, however related, here, mother The trauma. mother’s her of because womb her infects purposefully Fausta her. infects it and infected is it Fausta: for devouring asustada more- in Although, Why did you Why warning? without disappear didthem My my were father and innocent mother you sortofconsciencecouldWhat had? have FormerGarcia Alan president They warning.without them disappeared My my were father and innocent mother August 1985 14, The bloodthat river flowed. of rememberWe again the massacreLloqllepampa. of we remember again, our belovedAccomarca, pueblo of Brother,paisano, ht cus s oehn sihl dfeet Te ob f h mte i all- is mother the of womb The different. slightly something is occurs what or ls cnetoa hro fls ti my e hs ae in case, this be may this films, horror conventional -less if not fear— not if 73 73 not only by her continuous presence continuous her by only not La teta teta La CEU eTD Collection omnl rcie o slne I, vrl, em t slne n hd te individual the hide and silence to seems overall, It, silence. of practices communal and individual the influence can that scale wider on functioning is silence, political-national the contradicting also is a García, of those like Silences affected. it most people the of suffering and memory generally,collective Peru in memory collective on affect direct a has This conflict. the regardingdiscourse his norin museum a in not histories, these visible make to want not does cannot, himself president, Peruvian the García, Even errors’? and ‘excesses few a only were there that instance García’s with number that relate to How 2012). Estudios de (Centro war the during deaths seventy-thousand over record accounts Some 14). 2009: (Theidon conflict” armed internal the during errors’ and ‘excesses few a only committed His Peru. in Museum Memory a forces armed the that insistence blind his with of combined is short-sightedness commemorative construction the block of to efforts García short-sighted Alan “the of President knowledge is there instance, For all. at remembered or of spoken be will it if or it, of speak officials the as or it of speak area the of people the as of recollected— is tragedy the how regarding forth put be will justice what and remembered, be will what and how of question constant the is there above, song the through shown as south, the of people indigenous the affected, directly communities the for Especially Peru. in level collective and individual the at trauma deep generated that event historical this of interpretation film’s the and script the theoflaid bydocumentedTheidon, as it, around stories Lloqllepampa,the of killing The development the for foundation — ( For pueblo. theprogress ofour you That funding designate For pueblo theprogress ofour you askWe support for PresidentSr. Toledo yourAll of children demand That remembering all of us,united and comparsa L rgdad Loleap, opsdadsn yte group the by sung and composed Lloqllepampa,” de Tragedia “La ) New Heart of Accomarca, Carnival 2005 (Theidon 2013: 341) Accomarca, (Theidon) NewHeart of Carnival341) 2013: 2005 74 74 whether it will be spoken be will it whether CEU eTD Collection states duringan interview, collective projects, and interests Llosa As representation. fuller of sense political a from away further getting of capable are memories by motivated are racist who and/or those classist as patriarchal, discourses, misogynist, real) (and potentially Inside humankind. of capabilities horrific the of them reminds what with deal to want not do people because necessary, is it but endeavor, difficult a is It community. international the perhaps even Peru, in generation fictional current the for a stands who daughter, her onto generation, another to testimony testimony, her real-life moves Llosa work, Theidon’s song, mother’s the from from events the of memory Jumping the moves she screenplay, the In screenplay. memory. broken withthe violence oftraumatic although infected completely not is She Noé. to Aída, to uncle, her doctor, the to film: the throughout “no” of outside even saying on insists agency, fearful and anxious although specifically, Fausta, potatoes. and employment characters women “damaged” these gives also She an such existence. live to like is it what of vision a audience her to gives and experience traumatic this reinterprets Llosa Fausta, Through epilepsy. and disorders learning with born children to linked been also life, real in and has, film mentally the in “damaged”, suffers Fausta now that disease are The physically. time that at born children the testimonies of certain some that studies, indicate Theidon’s through demonstrated As violence. this through discussed As 342). going after children their 2013: then, since did, so but suffered women these (Theidon thesis, this throughout birth giving which to of many killed, close were people sixty-two some Lloqllepampa, of massacre women, the During pregnant were suffered. memories— s eodd y niiul lk Theidon— like individuals by recorded as 75 75 from what they know they have have they know they what from CEU eTD Collection of based rape a of depiction Pierce’s Kimberly or (2002) to the of memory wi and viscerally react add necessarily not does scene rape on more once killed close disturbingly viewer the brings scenes rape the of receptions disgusted and reactions Rape 1998). 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(ibid.). are reflected and reflected are is discovered he was born anatomically female, creates female, anatomically born was he discovered techniques, techniques, this type of abjection or scene, instead, she seems she instead, scene, or abjection of type this rape (Burnet 2012; Cockburn 2010; Das 1995; Hayden 2000; Mookherjee 2000; Hayden 1995; Das 2010; Cockburn 2012; (Burnet rape forces them forces public— in olcie rua r idpnet u itronce, especially interconnected, but independent are trauma collective To show rape show is the almost impossible impossible almost the life of Brandon Teena, Brandon of life the Boys represented settings, a single, unbroken shot, of almost nine-minutes almost of shot, unbroken single, a

to disgust and disgust view the capability of violence explicitly. violence of capability the view or take away from the main the from away take or Don’t is as even voyeur and accomplice and voyeur in Cry

thebody less possible, or possible, less in 76 76 19) Nés a estoait pornographic, sensationalist, a Noé’s, (1999). a cinematic translation cinematic a despair. Either way, the representation of the the of representation the way, Either despair. to be spoken of, and often, often, and of, spoken be of Faustaand of atrocities, the individual and individual the atrocities, in films films a trans-man who trans-man a so lik believed, hence the horrified horrified the hence believed, narrative, but does make one one make does but narrative, to e Gaspar Noé’sGaspar e

the rape. the her her to a similar sensation, but sensation, similar a mother. approach the memory the approach in La is teta it In raped

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only possible possible only tic not not those who look, look, who those realities to cameras found throughout the film until the flowing camera camera flowing the until film the throughout found cameras what be while their lives are examples of the social abjection caused abjection social the of examples are lives their while as seems to victims of a national conflict. Through Fausta, Through conflict. national a of victims able able hs o Lm, h ue f og ht opiet or compliments that song of use the Lima, of those to of the center, the are it recuperate and recuperate ht ad rp al elc ad eak upon remark and reflect all props and shots at

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CEU eTD Collection therewhen are none, or aside set purposefully are words when communicate to means a demonstrate all corpse, her of presence the with life of signaling constant mother’s the songs, providing powerfully while speech of absence Fausta’s placements, marginal such within festivities of happiness the shantytowns, the of colors bleak the against festivities and rituals colorful the settings, of contrasts dramatic the film, Llosa’s In war. the after living of stories collective greater the to back reflects that story individual personal, a hear to bedroom private a through film the one is left outside of language. isleftoutside oflanguage. one

78 78 CEU eTD Collection current to addition an provide would it believed I because thesis this do to chose I LlosaClaudia and compellingliteraturearound after violationandviolence. props— and scenery silence, song, camera, ways— abstract and unrealistic often in convey to her able and was Fausta film Her of mother. story Llosa’s through depicted as rape, wartime of trauma collective and individual the approach to possible is it abject, the of use the through film Llosa’s at looking By rape. wartime of portrayal and discussion the for medium accessible an provides film this how argued I genre, film horror the within situated as abjection, and abject the of theory Kristeva’s usingBy this. attains film Llosa’s how show to Iattempted have thesis, this Within language. into words, into put to difficult are that events of understanding of sense as a to closer get storytelling, and feel to possible through is it film, Llosa’s abjection, in ritual and songs the and in demonstrated abject the Through story. the of out left simply or forgotten often are who people the affected, most people the to horror, its to closer get asustada violence, of reenactments realistic or villains monstrous gore, and blood of use the Without combat. or battles no are there scene, rape the see not do we film, this In displays. direct and “pornographic” without It see. fully or touch to fail but fear and sense we that which is abject effective most the that say to seems arise It trauma displays. such and on memory depending without violent the of sense the analyzed, I scenes most In directly. horror and violence the replicate to having without previously, Llosa mentioned have I as events, 5. Conclusion to deal very delicately and beautifully with the idea of giving voice to silences. I also wished also I silences. to voice giving of idea the with beautifully and delicately very deal to made it possible for an audience to get close to the effects and aftermath of war, to war, of aftermath and effects the to close get to audience an for possible it made ’s film demonstrates the ability to engage with difficult memories and traumatic and memories difficult with engage to ability the demonstrates film how someone and their community deals with life life with deals community their and someone how 79 79 La teta asustada teta La . This film specificallyfilm .seemsThis through the the through La teta La s CEU eTD Collection sounds— images, colors, of use the medium, this through because film in possible are unseeable the seeing and unspeakable the Speaking unseeable. and unspeakable the call of ideas her upon I what of representations cinematic reflect the discuss to how approach to ‘unmaking’‘making’to and order in pain in body the on work seminal Scarry’s Elaine to body the of relation the reviewed I abjection, and abject the of review into a into delving go I chapter, Before second my In rape. wartime of memory,specifically traumatic attention and detail thefuture. in metaphor and story through demonstrated are throughout abjection and abject of use The film. Llosa’s onto theory abjection on work Kristeva’s of readings and discussions my applied frommy be the starta of intendedcentralstudy, to location Ias isthroughthebody it had that was body The body. the within inscribed and to related are violence and memory trauma, how discuss to embodiment and body of notions the on reflections and thoughts selective outlined also I film. and the in thesis conflict the this of background within the cover to context to gave film and intended historically the I situated what I described testimonies. I inspirational introduction, and work my Theidon’s In specifically mentioned I topic to focused have doso. likeduponmore would unable to thoroughly butwas and testimonies the alsoa is it this I nation relation film’s this to indirectly mention Although ofhistories women. particularly in, itself situates screenplay the history the and to attention inspiration careful paid I and on, rich based the is film this could that I foundation as and background fully as considered I thesis, of limitations the within permitted As war. the by affected most populations the regarding said be must still must mention, to Not works. cultural and popular their to regards in particularly Peru, in situation postconflict and conflict the of say to much still is There work. this engagingwith by project this in partake to a ea asustada teta La wih s oehn I lo discuss— also I something is which , 80 80 lhuh t eis more merits it although r lack or CEU eTD Collection suspenseful be can silences the jerk, us makes potato The sensed. still are depictions explicit same the by elicited be could that pain anxiety,the fear,the the Yet, disgust, film. the this in delicateI nodirectmentioned, there ways.As depiction violence, blood, ofrape have isno no the film, horror the of practices and customs the apply to is life Llosa’sTodirectlythroughout. in atreal in arehinted horrorfoundthey demonstratethe film, read to me led abjection on focus My much indebtedgenre tothehorrorhorror filmgenre. are film Although conventions notfound potato becomes theultimate abjective metaphor Fausta’s one. psychic and emotional her also but position social her only not show to try to level, another to this takes Llosa herself. finds she situation every almost in figure abject the Faustais marginalized, and indigenous as youngwomen, fearful and diseased a as victim, rape aa daughterofAs somany on levels. beingabjectherself an is who Fausta meetwe also Llosa that characterizations and but Lima of peripheries the on formulations community marginalized abject, an see onlyWe provides. not various the in discuss I read three, be chapter could of abject length the The throughout and two chapter of end the within function to At seems it as abjection and abject the of Kristeva’stheory studies. future in detail further in this study to wish also I sensationalism. of instead dialogue create to way a in rape wartime represent to attempt to necessary and possible is that filmmaking and figuratively subversive of sense a demonstrates trauma, to in living and war after life represent fantastically ability her in the Llosa, to women. especially especially war, and civil populations its indigenous during Peru in occurred what of records and memories current rework and recreate to able is what are argued,I responses, affective These audience. the in response affective an arousing also while incapabilities these signify all thereof—can 81 81 a ea asustada teta La of agency andof trauma. scary movie scary hog a rmwr very framework a through La teta asustada teta La , even if in more more in if even , . CEU eTD Collection 5.1 Peru and Potatoes 5.1 Peru Potatoes and necessary readings. and interesting provide would representations postconflict to approaches fantastic similar compare to study a believe I Also, research. future in on Llosa’sin later thisapproach consider I wish to and mayattention ontheir deserve own, films been have could also attention present metaphors various arguments.The telling moremore provide and reveal could future the in much that found also I limitations, to Due discussion in-depth an but three all cover memory.I and storytellingmetaphor, upon focused figurativelyit and incinematic artistic works. approach to how in particularlyfuture, the in studies doctoral in on focus to Ihope something is This horrorism. on work Cavarero’s like much us, around found horror the in but film, horror— of realm the in particularly future, the in closely more on focus to wish I area an is This elaborations. its into farther go to unable was I thesis, this of scope the cover.able to Trauma study,central this is to to studies. Due trauma go into I didnotdeep but was I what than larger is field this even but trauma, rape on mostly focused I Here, complex. and multifaceted is experience Traumaticspecifically. and closely more at look to able been have to wished I concept another is This trauma. of idea the also is horror to for related Closely means productive a create to proved genre film horror the of thesis. this use of completion the the in desired Although be to much still was there Llosa’sfilm, approaching convey is to with memoriesand thatare engage and traumatic violent. to Perpetua’s horror and the of relationThe uncomfortablypresent. is corpse 82 82 La teta asustada teta La to other films with films other to La teta asustada teta La not just horror just not

CEU eTD Collection nie prl f kn dmntae hw hs oao s sd o vlae eainhp, the relationships, evaluate to used is potato this how demonstrates skin, of spiral entire an in piece, one in her by potato the of peeling the Máxima, cousin the her of in ritual instance, marriage for community, immediate her to Fausta from away Moving potato. the of origin the considered is Peru since Peru, to connection direct a signifies story, the in tuber, this motif, specific this utilize to choice Llosa’s narrative. the and filmmaker the of level from range They ways. various in functions Fausta within and story the in potato The the at ones elaborated more to protagonist, the of level the at utilizations, ‘practical’ more the traumas and memories. respective their and bodies, collective the to and body individual the to discourse national a of relation constant the signify to begins potato The it. to relation nation’s the but trauma her with encounter own her demonstrating only not is Fausta so, doing In reasons. different for applied abjectis sustenance, and life anprovides that staple, the of in use This agency. rape of demonstration against herself protect to potato the with herself violates she extreme, abjective perverse, fantastic, a to but thing, similar a does Fausta survival. and sustenance for potato the on rely to continue and relied enterprise, capitalist with encounter violent equally the before colonialism, with encounter violent their before people, indigenous The country. the of crops staple the of one is it and raged, violence the where Peru, southern especially Andes, the to indigenous is It individual. and collective both trauma, for metaphor a is potato The film. the throughout and within purpose present constantly and strong a has potato the of The asa symbol. anational staple, ahas plant, as afunction in metaphors powerful most asustada teta potato the of functions various the note to important is it study, the of end the Before film— this in are bountiful and powerful, but none stand out like the potato. It is one of the of one is It potato. the like out stand none but powerful, and bountiful are it is more than just symbol of Fausta’s trauma and agency. The metaphors of of metaphors The agency. and trauma Fausta’s of symbol just than more is it La teta asustado teta La 83 83 , we know it in its relation to Fausta, but it also it but Fausta, to relation its in it know we , various readings of this metaphor this various readings of La CEU eTD Collection displaced become to had or since, ever trauma violent with live who war, survive who those for as him, For it. describing of way no has he that or telling worth not is it saying often me, told never still has He say. would he you”, tell may I enough, old are you when day, “One Bagua. in back was it how or birth my countryof the to it make to was it difficult andterrible other th as immigrants, as adversity, face to had have we family, our in Often, Bagua. of region the from is father my as home, to close hits me, for This, Peru. of Amazonas the in Bagua, in 2009 in instance, for people, indigenous of killing continuing the forget cannot We diversity. and legitimacy their of recognition the without maltreated, and discriminated be to continue that America Latin of communities original the seeing after towards notes, (2012) Opinión de Estudios de preoccupation Centro As and gaze our direct 5.2 Horror Real in Life food, this andaalso therefore peopleare intrinsically consume connected who toit. moving of people, a of narrative greater possibility a to Fausta’sWestory connect trauma. with living the and forward realize we Fausta, through seen as and, history, horrific their despite forward continue Peru of people The to. forward looks one what and has one what one when For, suffering. and tragedy despite on go to way a find families and People liv to creating onpersonal, networks levels. familial,national to approach greater the reflects it margin, the at appear may family this though even so, 1993), (McClintock nations of blocks building the considered been often have Families marriage. formationsa offamily,and successful whowillwife bewhowill tosignify have a prosperous es in such a life, as seen through Llosa’s film, there seems to be an active appreciation for appreciation active an be to seems there film, Llosa’s through seen as life, a such in es in the United States. There were many times when my father could not articulate how articulate not could father my when times many were There States. United the in 84 84 La teta asustada, teta La we can can we e CEU eTD Collection and real tohopefully its horror. devastation understand and possible— is it violence, through living after feels other the trauma and pain exact the know never may one Although realities. individual and collective of part are realities these as long as of consists to continue and may experience human the warthat and trauma pain, ofreality the with suffer,who those war,with of aftermathengage the to with us allow and questions theseapproach all helps that trauma. of pain, of experience the fear that to add I its concludes it review of Fear”, of Translation Difficult “The entitled study a In Fausta. of figure the in film her through demonstrated identity—as their of questioning obsessive an conduct to countries, American Latin of part who on those urgency, of an recognition account difficult into that approachtakes to film intent Llosa’s to profoundly, themselves at look afterwhat liketolive is it traumatic experiences. of revealing is because it omissions, its with evenstory, I his tell States. United the comingto to prior experience his of pieces know only I day, this Until knowledge. such without live to me for better was it said, father my Often, telling. of process the in himself upset to want not does indirectly, and, me, hurt to want not does father My silence. to lead may this Often, to. desire they what communicate to words those of inability the encounter often they yet politic or economic of because rjdcs tyn t g byn lnug. ny hn il e e be to able be we will then Only without language. perceive of fear 2012). translation thecomplex (CentroEstudios de it beyond to go listen to must trying we prejudices, And the together. to listen humanity is brings fear accumulated which understand music to order in do to need we All La tetaasustada La through fiction, drama, song, story— song, drama, fiction, through

with the following words: with the following words:

al reasons, there is a desire to put the unspeakable to words, words, to unspeakable the put to desire a is there reasons, 85 85 La teta asustada teta La to get near to these experiences these to near get to is a cinematic vehicle vehicle cinematic a is CEU eTD Collection Bennett, Judith M.1989.“FeminismBennett, and Judith “ and Storyteller” “The 1969. Walter. Benjamin, 1994. Roland. Barthes, in Rape” of Narrative the and Narrative of Rape “The 1990. Mieke. Bal, 1983. R. Benedict Anderson, traducción miedo”, 2012.“La difícil del deEstudios Opinión. Centro de 2009. Adriana. Cavarero, Agency, Sexual (1990-2001): Rwanda in Violence Sexual “Situating 2012. E. Jennie Burnet, in Sphere” “Pascal’s 1983. Luis. Jorge Borges, Los Angeles. Los Angeles. Hopkins University 1-32. Press: Persons, and Populations on Essays Body: Books: 253-64. Books: 253-64. Reflections and Essays Illuminations: of Nationalism Escenarios University Press. 97 War”, of Economy Political the and Consent, Sexual L.C. Simms. -118.

23. 23.

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