Inscription and Subversion of the Road Movie in Inés de Oliveira Cézar’s Cassandra (2012)

Research output: Chapter in Book/Report/Conference proceedingChapter

1 Scopus citations


This chapter claims that Inés de Oliveira Cézar’s Cassandra (Argentina, 2012) inscribes and subverts the generic conventions of the road movie, the female Bildungsroman, and even neorealism. While the road trip favors character development and female independence, the protagonist, a journalist whose job is to denounce the deforestation that deprives indigenous peoples of their ancestral lands in the Argentine northeast, does not turn out to be a successful journalist, since she becomes extremely aware of the limitations of language and representation. In this film, cultural critique is represented narratively and the deictic pointers typical of neorealism are ambiguous. Instead of the expected overt political messages denouncing the plight of indigenous peoples, Cassandra makes us to reflect upon the limitations of objective representation as well as the unfeasibility of speaking for the subaltern.

Original languageEnglish (US)
Title of host publicationGlobal Cinema
Number of pages17
StatePublished - 2016

Publication series

NameGlobal Cinema
ISSN (Print)2634-5951
ISSN (Electronic)2634-596X


  • Cultural Critique
  • Editorial Office
  • Generic Convention
  • Indigenous Language
  • Indigenous People

ASJC Scopus subject areas

  • Visual Arts and Performing Arts
  • Arts and Humanities (miscellaneous)


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