Abstract
The second chapter broadens our understanding of the mediascape during the golden age of Argentine cinema by examining the film and radio stardom of Marina Esther Traverso, “Niní Marshall,” as a case of aural stardom that challenges image-based star studies and provides a framework to consider the particularities of popular Argentine cinema, in which radio furnished the framework for the development of its industry and star system. Star-contract disputes from studio archives and evolving sound conventions in film texts are ventriloquial gambits that rearticulate the relationship between voice and body in a shifting organization of the senses. In Marshall’s film, the actress is the site of multiples selves that surface differentially in relation to the image. Marshall is never quite in synch, is never quite embodied, is never quite diegeticized. This failure to diegeticize mocks a Hollywood classicism that differentiated diegetic and non-diegetic sound in order to secure a narrative space distinct from the theatrical space.
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