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Tár: The sociomaterial making and unmaking of maestro

Author

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  • Stanislas Kihm

    (ISTEC - Institut supérieur des Sciences, Techniques et Economie Commerciales - ISTEC, IDHES - Institutions et Dynamiques Historiques de l'Économie et de la Société - UP1 - Université Paris 1 Panthéon-Sorbonne - UP8 - Université Paris 8 - UPN - Université Paris Nanterre - UEVE - Université d'Évry-Val-d'Essonne - CNRS - Centre National de la Recherche Scientifique - ENS Paris Saclay - Ecole Normale Supérieure Paris-Saclay)

Abstract

Written and directed by Todd Field, Tár (2022) follows Lydia Tár (Cate Blanchett), a celebrated conductor whose authority begins to fracture just as her prestige appears most secure. As she prepares Mahler's Fifth Symphony and launches her autobiography, the film stages not only a personal downfall but the unmaking of a gendered regime of authority. My argument is that Field's film is most compelling when it presents authority as a craft of time, access, and coordination, while keeping questions of gender and sexuality inseparable from the exercise of command.

Suggested Citation

  • Stanislas Kihm, 2026. "Tár: The sociomaterial making and unmaking of maestro," Post-Print hal-05662344, HAL.
    • Handle: RePEc:hal:journl:hal-05662344
    DOI: 10.1177/13505084261461879
    Note: View the original document on HAL open archive server: https://hal.science/hal-05662344v1
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