1. Introduction. Women Filmmakers in Argentina: Reworking Cinematic Practices Mirna Vohnsen & Daniel Mourenza Auteurs.- 2. Lita Stantic: "The Personal Is Political" Is ProfessionalConstanza Burucúa.- 3. Jeanine Meerapfel: Cosmopolitan Auteur of the Immigrant ConditionMatt Losada.- 4. María Victoria Menis's Counter-Cinema: La cámara oscura (2008) and María y el Araña (2013) Carolina Rocha.- Traumatic Experiences.- 5. Sisterhood on the Threshold in Julia Solomonoff's Hermanas (2005) Mirna Vohnsen.- 6. Screaming into the Abyss: Trauma and Witnessing in Albertina Carri's Los rubios (2003) and La rabia (2008) Fiona Clancy.- 7. Are You Listening? Voices and Images in Gabriela David's Taxi, un encuentro (2001) and Lucía Puenzo's El niño pez (2009) Ana Forcinito.- 8. Intersectionality in Gabriela David's La mosca en la ceniza (2010) Traci Roberts-Camps.- Aesthetics.- 9. They Are All around Us: Pain, Memory and Multisensory Images in Paula Markovitch's El premio (2011) Guillermo Severiche.- 10. The Oppositional Gaze in the Argentine Cinema of Migration: Negotiating Chinese Identity and Coloniality of Seeing in Nele Wohlatz's El futuro perfecto (2016) Pedro Cabello del Moral & Roberto Elvira Mathez.- 11. Manipulating the Gaze in La novia del desierto (dir. Cecilia Atán and Valeria Pivato, 2017) Andrea Meador Smith.- Genre Cinema.- 12. Women, Hybridity and Genre in the Films of Verónica Chen Beatriz Urraca.- 13. A Different Terror: Crudo Films and Women's Horror Cinema in Argentina Jonathan Risner.- 14. Girlhood and the Uncanny in the Coming-of-Age Genre: Abrir puertas y ventanas (dir. Milagros Mumenthaler, 2011) and Mamá, mamá, mamá (dir. Sol Berruezo Pichon-Rivière, 2020) Daniel Mourenza.- Epilogue. On Cinematic Disobedience Inela Selimovic
