Abstract
A number of contemporary Mexican films have moved away from the direct portrayal of graphic violence on-screen, instead engaging with invisible, hard-to-represent aspects of systemic violence. This article brings together Deleuzian affect theory with cinematographic formalism to offer a new methodological approach to violence in cinema that draws from the critic’s own body and gut feelings. Through a case study of Tatiana non-fiction film Tempestad/Tempest, it suggests that the affective work of the film occurs not in the first moment of viewership, but rather after-the-fact by laying the groundwork for future resonances.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
