'Her hair over her arms and her arms full of flowers': Love and Unknowing in Alina Marazzi's Un'ora sola ti vorrei ( For One More Hour with You) (2002).
In her first documentary film, For One More Hour with You (2002), Alina Marazzi explores ways of using cinema, and in particular carefully edited found footage, to attend to sensory presence, to girlhood, to female sexuality, to sensuality and love. Marazzi's work is sensitive to ways in which cinem...
| Published in: | Paragraph Vol. 38; no. 1; pp. 7 - 20 |
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| Format: | Article |
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Edinburgh University Press
2015
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| Online Access: | View this record in EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=101350374&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 101350374 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 02648334 C0N jtl: Paragraph issn: 02648334 maglogo: N pubinfo: dt: 2015 vid: 38 iid: 1 pid: 2327 pub: Edinburgh University Press artinfo: ui: 101350374 10.3366/para.2015.0143 ppf: 7 ppct: 13 formats: fmt: @attributes: type: P size: 80KB tig: atl: 'Her hair over her arms and her arms full of flowers': Love and Unknowing in Alina Marazzi's Un'ora sola ti vorrei ( For One More Hour with You) (2002). aug: au: Wilson, Emma su: Cavarero, Adriana Marazzi, Alina Huffer, Lynne Grief Feminism sug: subj: Cavarero, Adriana Marazzi, Alina Huffer, Lynne Grief Feminism keyword: Adriana Cavarero Alina Marazzi daughters Lynne Huffer mothers mourning ab: In her first documentary film, For One More Hour with You (2002), Alina Marazzi explores ways of using cinema, and in particular carefully edited found footage, to attend to sensory presence, to girlhood, to female sexuality, to sensuality and love. Marazzi's work is sensitive to ways in which cinema may conjure another individual as sensate and animate, as affectively and erotically present, as touched, elated and damaged. Yet her work is also finely attuned to protection and to ethical delicacy, forging a responsive sensibility, reminding us of all that we also don't know of each other. Her focus on her mother Liseli Hoepli Marazzi, on her loves, on the moves from girlhood into more charged erotic and affective experience, is part of a broader feminist agenda. Marazzi's work encourages viewers to feel, to attend to sensation, whilst remaining uncertain of what is seen or heard. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Paragraph is the property of Edinburgh University Press and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Paragraph holder: Edinburgh University Press dt: @attributes: year: 2015 holdings: @attributes: islocal: N |
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