Fish, African Rats, and the Decomposing of the White Body in the Cinema of Lucrecia Martel

Engineering notes

Key topics: autonomous driving, perception. See the paper for implementation details and experimental results.

Chinese explanation / 中文解读

中文解读待补充：本站会优先为端到端自动驾驶、BEV感知、3D目标检测、轨迹预测、路径规划、LiDAR感知等高价值论文补充中文说明。

Original abstract

This article offers a revision of Lucrecia Martel’s cinema through the lens of race and specifically whiteness—a persistent yet understudied dimension of her work—as it is constructed and unsettled through the figure of the animal. Reading together three instances of animality in her cinema—the fish in Fish (Pescados, 2010), the African rat in The Swamp (La ciénaga, 2001), and the armless, decomposing criollo body in Zama(2017)—the article argues that Martel constructs animality not merely as ametaphorical figure but as an environmental force and perceptual modality that exposes and erodes thesensory foundations of white perception. Drawing on critical whiteness studies and phenomenology of race, the article shows how these animal figures progressively destabilize the bodily and perceptual boundaries through which whiteness constitutes itself as sovereign, separate, and self-enclosed, reorienting charactersand spectators toward submerged and environmental forms of sensing, ultimately creating the conditions for a non-sovereign form of spectatorship.

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