Beatriz Sarlo’s essays on cinema continue and develop her interests as a literary critic. She obviously approaches cinema with the instruments she acquired in literature; but despite what usually happens with many cultural critics, she doesn’t consider films as subsidiary objects. On the contrary: When she writes about Chantal Akerman, about Rainer Fassbinder, about Claude Lanzmann or about Raya Martin, she displays a cinephile erudition that heightens her literary ideas in order to project them as a complex political theory of culture.
Las intervenciones de Beatriz Sarlo a propósito de cuestiones cinematográficas continúan y expanden sus preocupaciones en tanto que crítica literaria. Sin duda, se aproxima al cine con las herramientas que aprendió en la literatura, pero, a diferencia de lo que suele suceder con muchos críticos culturales, no piensa los films como un objeto derivado. Más bien, al contrario: cuando escribe sobre Chantal Akerman, sobre Rainer Fassbinder, sobre Claude Lanzmann o sobre Raya Martin, despliega una erudición cinéfila que le permite amplificar su pensamiento literario y proyectarlo como una compleja teoría política de la cultura.
Beatriz Sarlo’s essays on cinema continue and develop her interests as a literary critic. She obviously approaches cinema with the instruments she acquired in literature; but despite what usually happens with many cultural critics, she doesn’t consider films as subsidiary objects. On the contrary: When she writes about Chantal Akerman, about Rainer Fassbinder, about Claude Lanzmann or about Raya Martin, she displays a cinephile erudition that heightens her literary ideas in order to project them as a complex political theory of culture.