Resumen de Technological landscapes: Anthropocene and technics in Lucrecia Martel’s "Zama"
This article examines the relationship between the Anthropocene and colonialism in Lucrecia Martel’s 2017 film Zama. Building from diverse critiques of technology and the colonial underpinnings of the Anthropocene, such as Kathryn Yusoff and Martin Heidegger, this article examines how this film is a meditation on the colonial origins of the Anthropocene that takes humanity’s purported mastery over nature to its limit and how this process is dependent on aesthetic representations and of processes of racialization. By examining the film’s color, compositions, sound schemes, and the representation of natural elements, this article shows how the Anthropocene is not exclusively a product of the industrial revolution or the nuclear age, but an event that began during European colonial expansion. Furthermore, this article shows that the Anthropocene and its ensuing racialization have their roots in the ontological relation that renders every being as an object, including living beings, then racialized subjects, and eventually humanity, as always ready for consumption
