Artigos by Marina C A V A L C A N T I Tedesco
Iberic@l. Revue d'études ibériques et ibéro-américaines, 2023
O universo do documentário latino-americano realizado a partir dos anos 1960 tem sido amplamente ... more O universo do documentário latino-americano realizado a partir dos anos 1960 tem sido amplamente estudado. De fato, trata-se de uma década que trouxe grandes rupturas para o cinema da região e cuja influência ainda hoje pode ser percebida em diversos filmes. No entanto, é preciso que também voltemos nossas pesquisas para outros períodos históricos. Este é o caso das produções não ficcionais feitas na América Latina entre 1950 e 1955. Entendida como uma filmografia transicional, é composta por obras que são muito mais que antecedentes do Nuevo Cine Latinoamericano, e que podem trazer questões para o documentário contemporâneo. Este é o caso de Reverón (1952), dirigido por Margot Benacerraf. Neste artigo, analisaremos alguns elementos deste filme tão singular: sua estrutura e estética circulares; o uso parcimonioso de uma narração poética; a ética da diretora ao retratar seu personagem; e a presença de convenções de gêneros ficcionais como o terror em uma produção documental.
The universe of Latin America documentary, from de 1960s on, has been widely studied by scholars. In fact, it is the decade that brought great aesthetic ruptures for the cinema made in the region, and which influence on many productions can be noted until today. However, it is also important to dedicate our researches to other historical periods. For instance, non-fiction productions made in Latin America between 1950 and 1955. Understood as a transitional filmography, it is composed of works that are more than predecessors of Nuevo Cine Latinoamericano, and which can bring issues to contemporary documentary. It is the case of Reverón (1952), directed by Margot Benacerraf. On this paper, we analyze some of the elements of such singular film: its circular aesthetic and structure; its parsimonious use of a poetic narration; the director´s ethics in portraying its character; and the presence of fictional gender conventions, such as terror cinema, in a documentary production.
L’univers des documentaires latino-américains réalisés depuis les années 1960 a déjà été largement étudié. En effet, cette décennie a été marquée par des bouleversements majeurs pour le cinéma de cette région et l’influence de cette période est encore visible aujourd’hui dans certains films. Mais il faut également orienter nos recherches vers d’autres moments historiques. C’est le cas des productions non-fictionnelles réalisées en Amérique latine entre 1950 et 1955, habituellement considérées comme une filmographie de transition. Pourtant, ces œuvres ne doivent pas être vues seulement en relation au Nuevo Cine Latinoamericano qu’elles précèdent, car elles peuvent ouvrir des questions intéressantes pour le documentaire contemporain. C’est le cas de Reverón (1952), réalisé par Margot Benacerraf. Dans cet article, nous analyserons quelques éléments de ce film si particulier : sa structure et son esthétique circulaires ; son usage subtil de la narration poétique ; l’éthique de la réalisatrice dans la représentation de son personnage ; et la présence de conventions de genres fictionnels (comme les films d’horreur) dans une production documentaire.
Revista Antíteses, 2023
Resumo: Alguns filmes produzidos durante o governo da Unidade Popular (UP – 1970-1973) entraram p... more Resumo: Alguns filmes produzidos durante o governo da Unidade Popular (UP – 1970-1973) entraram para o cânone não apenas do cinema chileno, mas do cinema latino-americano. Por conseguinte, foram muito estudados ao longo dos anos, enquanto outra parte da filmografia realizada no Chile naquele período teve pouca ou nenhuma visibilidade. São exemplos desse segundo caso as obras cinematográficas dirigidas por mulheres nos primeiros anos da década de 1970, embora, felizmente, algumas dessas cineastas sejam cada vez mais tema de estudos e mostras. Não obstante, mesmo na bibliografia recente, as produções com mulheres na direção feitas nos tempos da UP não foram pensadas de forma conjunta. É esta contribuição às pesquisas sobre o cinema de mulheres na América Latina o objetivo do presente artigo. Após realizarmos um levantamento partindo de diversas fontes, chegamos a um corpus de 15 obras, que foram analisadas a partir dos seguintes aspectos: composição da direção; formato; gênero narrativo; forma de financiamento e estrutura de produção; se tem entrevista; se tem narração; se tem música (se sim, qual seu papel); a partir de que lógicas são construídas as relações entre imagem e som; e lógicas de montagem.
Palavras-chave: cinema; mulheres; unidade popular; análise.
Abstract: Some films produced during the Popular Unity - UP government (1970-1973) entered the canon not only of Chilean cinema, but of Latin American cinema. Consequently, they have been studied a lot over the years, while another part of the filmography made in Chile in that period had little or no visibility. Examples of this second case are the cinematographic works directed by women in the early 1970s, although, fortunately, some of these filmmakers are increasingly the subject of studies and exhibitions. However, even in the recent bibliography, the productions with women filmmakers made in the days of the UP were not conceived together. It is this contribution to research on women's cinema in Latin America that is the purpose of this article. After carrying out a survey based on several sources, we arrived at a corpus of 15 works, which were analyzed from the following aspects: composition of the direction; Format; narrative genre; form of financing and production structure; if it has an interview; if it has narration; if there is music (if so, what is its role); from which logics are built the relations between image and sound; assembly logic.
Keywords: cinema; women; popular unity; analysis.
Alterna - el magazine de la Asamblea de Cineastas Cubanos, 2024
Imágenes bajo licencia Creative Commons CCBY / Sincover Films.
Jump Cut, 2022
An analysis of the creative and collaborative processes and the dynamics of the International Wom... more An analysis of the creative and collaborative processes and the dynamics of the International Women’s Film Project (IWFP), the only collective to which Helena Solberg belonged throughout her career.
Revista Latina de Ciencias de la Comunicación, 2022
Resumo: A venezuelana Margot Benacerraf realizou, nos anos 1950, dois filmes de grande repercussã... more Resumo: A venezuelana Margot Benacerraf realizou, nos anos 1950, dois filmes de grande repercussão. As relações entre tais obras, o projeto de cinema da diretora e o Nuevo Cine Latinoamericano (NCL) são muitas. Porém, Benacerraf quase não é citada nas publicações sobre esse movimento. Pretendemos, neste artigo, demonstrar que: 1) Benacerraf é uma (não) pioneira do Nuevo Cine Latinoamericano; 2) ela esteve conectada de várias maneiras com o NCL, seus eventos e participantes; e 3) sua invisibilidade na história do movimento se deve a diferentes aspectos do machismo que estrutura nossa região, e que invisibiliza e interrompe carreiras de mulheres.
Resumen: La venezolana Margot Benacerraf ha realizado, en los años 1950, dos filmes de gran repercusión. Las relaciones entre esas obras, el proyecto de cine de la directora y el Nuevo Cine Latinoamericano (NCL) son varias. Sin embargo, Benacerraf casi no es citada en las publicaciones sobre el movimiento. Pretendemos, en ese artículo, demonstrar que: 1) Benacerraf es una (no) pionera del Nuevo Cine Latinoamericano; 2) ella estuvo conectada de distintas maneras con el NCL, sus eventos y participantes; e 3) su invisibilidad en la historia del movimiento se debe a diferentes aspectos del machismo que estructura nuestra región, y que invisibiliza y interrumpe trayectorias de mujeres.
Abstract: The Venezuelan Margot Benacerraf directed, in the 1950s, two films of great repercussion. There are many relationships between the director's film project and Nuevo Cine Latinoamericano (NCL). However, Benacerraf is hardly mentioned in publications about this movement. We intend to demonstrate that: 1) Benacerraf is a (non) pioneer of Nuevo Cine Latinoamericano; 2) she has been connected in many ways with the NCL, its events and participants; and 3) her invisibility in the movement's history is due to different aspects of the sexism that structures Latin America, and makes women's careers invisible and disruptive.
Revista Estudos Feministas, 2022
Resumo: A partir dos anos 1960, mulheres latino-americanas começaram, individualmente ou dentro d... more Resumo: A partir dos anos 1960, mulheres latino-americanas começaram, individualmente ou dentro de coletivos, a dirigir filmes que podem ser considerados feministas. Até então, a maior parte da bibliografia sobre cinema feminista pioneiro na América Latina tendeu a se concentrar em países e/ou em realizadoras. No entanto, é igualmente importante olharmos para tal filmografia a partir de uma perspectiva subcontinental e que também dê destaque aos coletivos. Por isso, apresentamos, neste texto, um panorama (parcial) do cinema feminista latino-americano entre as décadas de 1960 e 1980, composto por obras dos coletivos Cine Mujer do México, Cine Mujer da Colômbia e Grupo Feminista Miércoles, e das cineastas Helena Solberg, Kitico Moreno, María Luisa Bemberg e Sara Gómez.
Resumen: A partir de la década de 1960, las feministas latinoamericanas empezaron, individualmente o en colectivos, a realizar películas. Hasta el momento, gran parte de la bibliografía sobre cine pionero feminista en América Latina tendió a centrarse en países y en realizadoras, pero es igualmente importante mirar dicha filmografía desde una perspectiva subcontinental y que de protagonismo a los colectivos. Por ello, presentamos en este texto un panorama (parcial) del cine feminista latinoamericano entre las décadas de 1960 y 1980, compuesto por obras de los colectivos Cine Mujer de México, Cine Mujer de Colombia y Grupo Feminista Miércoles, y de las cineastas Helena Solberg, Kitico Moreno, María Luisa Bemberg y Sara Gómez.
Abstract: From the 1960s, Latin American feminists started to make movies, individually or through collectives. The bibliography pioneering Feminist cinema in Latin America tended to focus on countries and female filmmakers, but it is equally important to look at such filmography from a subcontinental perspective and to give prominence to collectives. For this reason, we present in this text a partial overview of Latin American feminist cinema between the 1960s and 1980s, composed of works by the collectives Cine Mujer of Mexico, Cine Mujer of Colombia and Grupo Feminista Miércoles, and by filmmakers Helena Solberg, Kitico Moreno, María Luisa Bemberg and Sara Gómez.
Imagofagia, 2021
Resumo: Sara Gómez, mulher negra e primeira diretora cubana, é há algumas décadas estudada pelas ... more Resumo: Sara Gómez, mulher negra e primeira diretora cubana, é há algumas décadas estudada pelas questões de gênero e de raça presentes em sua filmografia. Não obstante, existem ainda outros aspectos da carreira da realizadora extremamente importantes e que quase não foram discutidos. No presente texto, trataremos do seu pioneirismo no cinema documental autobiográfico através de uma investigação sobre Guanabacoa: Crónica de mi familia (1966). Para uma melhor compreensão da importância deste filme faremos, após uma breve apresentação da cineasta, algumas considerações sobre o documentário em primeira pessoa e autobiográfico. Em seguida, recorreremos à revisão da bibliografia e à análise fílmica a fim de identificar de que forma Gómez construiu sua auto-inscrição cinematográfica e a maneira como esta lhe permitiu acessar sua família e falar sobre algo mais abrangente: ser negro ou negra na ilha, antes e depois da Revolução.
Resumen: Sara Gómez, mujer negra y primera directora cubana, es estudiada hace algunas décadas, debido a las cuestiones de género y de raza presentes en su filmografía. No obstante, existen otros aspectos de la carrera de la realizadora extremamente importantes y que casi no fueron discutidos. En el presente texto, trataremos su condición de pionera en el cine no ficcional autobiográfico a través de una investigación sobre Guanabacoa: Crónica de mi familia (1966). Para una mejor comprensión de la importancia de este filme haremos, después de una breve presentación de la cineasta, algunas consideraciones sobre el documental en primera persona y autobiográfico. Enseguida, recurriremos a la revisión de la bibliografía y al análisis fílmico a fin de identificar de qué forma Gómez construyó su auto-inscripción cinematográfica y la manera como ésta le permitió acceder a su familia y hablar sobre algo más amplio: ser negro o negra en la isla, antes y después de la Revolución.
Abstract: Sara Gómez, black woman and first female Cuban director, has been studied for decades, due to the gender and race issues present in her filmography. However, there are other aspects of the filmmaker's career that are extremely important and were hardly discussed. In the present text, we will treat her condition as a pioneer in autobiographical non-fictional cinema through an investigation on Guanabacoa: Crónica de mi familia (1966). For a better understanding of the importance of this film, we will make, after a brief presentation of the filmmaker, some considerations about the documentary in the first person and autobiographical. Next, we will resort to a review of the bibliography and a filmic analysis in order to identify how Gómez built his cinematographic self-registration and how it allowed her to access her family and talk about something broader: being a black man or black woman in the island, before and after the Revolution.
En la otra isla, 2021
Resumo: Na década de 1970, as mulheres do cinema brasileiro começaram a debater, coletiva e publi... more Resumo: Na década de 1970, as mulheres do cinema brasileiro começaram a debater, coletiva e publicamente, as desigualdades que vivenciavam, chegando a criar a Associação Brasileira das Mulheres de Cinema. Ao mesmo tempo, voltaram-se para o passado a fim de valorizar as figuras fundamentais para a compreensão d’“A mulher no cinema brasileiro: Da personagem à cineasta”, nome de evento realizado no Museu de Arte Moderna do Rio de Janeiro, em 1975. É neste contexto que se insere o primeiro filme dedicado a contar essa história: Mulheres de Cinema (1976), de Ana Maria Magalhães. Depois de Mulheres de Cinema, é possível encontrar principalmente séries sobre o tema, como Mulheres no Cinema, exibida em 1993 pela extinta Rede Manchete, As mulheres no cinema brasileiro, veiculada pelo Canal Brasil em 2001, e As Protagonistas, com estreia prevista para 2021. No presente artigo, nos propomos a analisar como a atriz, produtora e diretora Carmen Santos, uma das mulheres mais importantes e controversas da história do cinema brasileiro, é construída em Mulheres de Cinema, Mulheres no Cinema, As mulheres no cinema brasileiro e As protagonistas. Nossa análise se dará em diálogo com os debates historiográficos e feministas que têm repensado a cinematografia nacional.
Abstract: In the 1970´s, women of the Brazilian cinema began to debate, collectively and publicly, the inequalities that they experienced, creating the Brazilian Association of Women in Cinema. At the same time, they turned to the past in order to value the fundamental figures for understanding of “The woman in Brazilian cinema: from the character to the filmaker”, the name of a event held at the Modern Art Museum of Rio de Janeiro, in 1975. It is in this context that the first film dedicated to telling this story is shot: Mulheres de cinema (1976), by Ana Maria Magalhães. After Mulheres de Cinema, it is possible to find Other series on this theme, such as Mulheres no Cinema, show in 1993 by the extinct Rede Manchete, As mulheres no Cinema Brasileiro, broascast by Canal Brasil in 2001, and As Protagonistas, scheduled to premiere in 2021. In this article we propose to analyze how the actress, producer and diretor Carmen Santos, one of the most importante and controversial women in the history of Brazilian cinema, is built on Mulheres de Cinema, Mulheres no Cinema, As mulheres no Cinema Brasileiro and As Protagonistas. Our analyses dialogue with the historiographic and feminist debates that are rethinking nacional cinematography.
Aletria, 2019
Resumo: O Nuevo Cine Latinoamericano (NCL), movimento cinematográfico mais conhecido da históri... more Resumo: O Nuevo Cine Latinoamericano (NCL), movimento cinematográfico mais conhecido da história do cinema da América Latina, começou a ter seu cânone gestado já em seus primeiros anos (trabalhamos os anos de 1967 e 1985 como marcos inicial e final do movimento). Tiveram participação decisiva nesta construção, e influenciaram fortemente a bibliografia produzida até hoje, diretores e críticos que atuavam naquele momento. Neste artigo investigaremos, a partir da perspectiva que o gênero é uma categoria útil de análise histórica, como, por quem e dentro de qual cultura política o cânone do NCL foi engendrado. Discutiremos, ainda, as possibilidades que se apresentavam para homens e mulheres cineastas de incidirem e/ou contestarem à época o cânone do movimento e seus textos mais importantes e o desafio de se fazer uma história que visibilize as realizadoras sem apagar os processos de invisibilização os quais elas vivenciaram.
Abstract: The New Latin American Cinema (NCL), the most well-known cinematographic movement in the history of Latin American cinema, started to have its canon conceived during its first years. Directors and critics who worked at that time had a decisive participation in this construction, and they strongly influenced the bibliography that has been written until today. In this article, we will investigate, from the perspective that the gender is a useful historical analysis category, how, by whom and inside what political culture the NCL canon was engendered. We will also discuss the possibilities that were presented to male and female filmmakers at that time to influence and/or question the canon of the movement and its most important texts, and the challenge of constructing a history that would make women filmmakers visible without deleting the invisibilization processes they lived.
Doc On-line - Revista Digital de Cinema Documentário, 2019
Resumo: O documentário cubano pós-Revolução de 1959 se caracteriza por uma linguagem irônica e sa... more Resumo: O documentário cubano pós-Revolução de 1959 se caracteriza por uma linguagem irônica e sarcástica, que se utiliza de fontes diversas para produzir um discurso militante homogêneo. Neste artigo, abordaremos a contribuição da cineasta Sara Gómez na construção desta linguagem, a partir da análise de "Historia de la piratería" (1962).
Abstract: The Cuban documentary made after 1959’s Revolution has an ironic and sarcastic language using diverse sources to produce a homogenous militant discourse. In this article, I will discuss the contribution of the filmmaker Sara Gómez in the process of constructing this language, based on the analysis of "Historia de la piratería" (1962).
Imagofagia, 2018
Resumen: El huracán de revoluciones que pasó por varios países de Latinoamérica empezaba a ce... more Resumen: El huracán de revoluciones que pasó por varios países de Latinoamérica empezaba a ceder en la década de 1980, concentrándose en Centroamérica. Brasil vivía el final de un período contrarrevolucionario. De este modo, los cineastas tuvieron que utilizar la ficción o contextos “prestados”, como fue el caso de From the ashes... Nicaragua today (1982) y El pequeño ejército loco (1984). En este artículo, analizaremos estos dos documentales singulares dentro de la filmografía brasileña: uno por ir a filmar la revolución, otro por tener mujeres como protagonistas de este gesto. Consideraremos los siguientes aspectos: público objetivo, modo de producción, duración del rodaje y estrategias de lenguaje.
Abstract: In the 1980s the hurricane of revolutions that passed through Latin America was losing power and concentrating in Central America. Such processes left a great deal of film where someone tried to register them. Brazil was living the end of a counterrevolutionary period. Because of that, filmmakers had to appeal to fiction or “borrowed” contexts, as in the case of From the ashes ... Nicaragua today (1982) and El pequeño ejército loco (1984). This article analyzes these two documentaries, unique within the Brazilian filmography, both for “filming the revolution” and for having women as protagonists of this gesture. It considers the following aspects: target audience, mode of production, duration of filmmaking and language strategies.
Extraprensa, 2017
Resumo: Nora de Izcue, a primeira cineasta da história do Peru, dirige Encuentro, seu filme de e... more Resumo: Nora de Izcue, a primeira cineasta da história do Peru, dirige Encuentro, seu filme de estreia, em 1967, levando às telas uma mulher de classe‐média que buscava dar sentido a sua vida. Alguns anos depois, no começo da década de 1970, ela dá uma forte guinada em direção ao cinema político, do qual de uma maneira ou outra nunca mais se separaria. Tal opção por privilegiar situações de opressão e as lutas sociais e seus protagonistas, aliada ao papel que as mulheres desempenhavam nestas lutas na América Latina de então, fizeram com que a realizadora só voltasse a ter uma protagonista em 1982, com El viento del ayahuasca. Neste artigo analisaremos, além da produção recém‐citada, Pobladoras de cerros y arenales (1986), Color de mujer (1990) e Elena Izcue: La armonía silenciosa (1998) a fim de compreender quem são as protagonistas femininas de Nora de Izcue nesta etapa de sua carreira cinematográfica.
Abstract: Nora de Izcue, the first woman filmmaker in the history of Peru, directs Encuentro, her debut film in 1967, bringing to the screen a middle‐class woman who sought to make sense of her life. In the early 1970s, she gives a strong turn towards the political cinema. Such an option for privileging situations of oppression and social struggles, along with the role played by women in Latin America at the time, postponed her return with a female protagonist to 1982 with El viento del ayahuasca. This paper will analyse the newly quoted production, Pobladoras de cerros y arenales (1986), Color de mujer (1990) and Elena Izcue: La armonía silenciosa (1998) in order to understand who are the female protagonists in Nora de Izcue film career.
Doc On-line, 2018
Resumo: Nascida em Bogotá, em 1933, Marta Rodríguez pode ser considerada sem nenhum exagero uma... more Resumo: Nascida em Bogotá, em 1933, Marta Rodríguez pode ser considerada sem nenhum exagero uma das maiores documentaristas da atualidade. Tal afirmação se sustenta, primeiramente, em suas mais de cinco décadas de atuação. Ela começa a dirigir seu longa-metragem de estreia em 1964 e se mantém ativa até hoje, sem interrupções na carreira – algo extremamente raro na biografia de qualquer cineasta latino-americano, e em especial no caso de uma mulher.
Significação - Revista de Cultura Audiovisual, 2016
Resumo: a direção de fotografia é, dentro do processo de realização fílmica, uma das funço... more Resumo: a direção de fotografia é, dentro do processo de realização fílmica, uma das funções que menos emprega mulheres em muitos lugares do mundo. Através de pes- quisa iniciada em 2014, constatamos que, ao menos no longa-metragem de ficção, o cenário brasileiro não difere muito da tendência internacional, embora, como ocorre em outros países, venha se alterando lentamente. É pre- ciso destacar, no entanto, que as dificuldades enfrentadas pelas fotógrafas não podem ser resumidas apenas ao aspec- to quantitativo. Se há problemas de acesso, a permanência na profissão também é complicada. Neste texto, apresenta- remos dados preliminares de nosso estudo, ainda em etapa inicial, refletindo sobre alguns de seus resultados.
Abstract: a global look at filming production shows that cinematography is the field in which fewer women are employed. According to a research started in 2014, at least between fictional feature films, the international tendency is not much different from the Brazilian scene, although changes are noticed in a slow pace as well as in other countries. It is important to underline, however, that the difficulties for women to work in cinematography are not shown only by the quantitative data. If there are problems to enter the field, it is also complicated to stay. In this arti- cle, we will introduce the preliminary data of our research, still on going, and discuss some of it’s results.
Conexão - Comunicação e Cultura, 2016
Resumo: Os binarismos observados nas relações homem masculino/mulher feminina e heterossexualid... more Resumo: Os binarismos observados nas relações homem masculino/mulher feminina e heterossexualidade/homossexualidade têm embasado, historicamente, tanto as prescrições quanto as práticas da “boa” fotografia cinematográfica. Trata-se de pressupostos tão fortes para a direção de fotografia que se encontram incrustrados na própria reflexão crítica sobre tal aspecto da área. É preciso, portanto, começar a desenvolver novos conceitos e categorias, a fim de compreender como a direção de fotografia participa da construção de discursos fílmicos sobre sexualidade e combinações sexo-gênero-desejo abjetas. Com o intuito de dar os primeiros passos nessa direção, propomos um estudo da trilogia do diretor argentino Marco Berger, composta por “Hawaii” (2013), “Ausente” (2011) e “Plan B” (2009).
Abstract :The binarism perceived in relations masculine man/feminine woman and heterosexuality/homosexuality has grounded, historically, both prescriptions and practices of the “good” cinematographic photograph. These are strong assumptions to the cinematography direction, which are inlaid on the very critical reflection of this aspect of the are. Therefore, is necessary to develop new concepts and categories to understand how the cinematography direction joins the construction of filmic discourse about sexualities and sex-genre-desire abject combinations. In order to take the first steps onto this direction, we propose a study of the trilogy of the Argentine director Marco Berger, composed with “Hawaii” (2013), “Ausente” (2011) and “Plan B” (2009).
Imagofagia, 2015
Resumo: A documentarista Marta Rodríguez possui uma singular obra que aborda relevantes questões ... more Resumo: A documentarista Marta Rodríguez possui uma singular obra que aborda relevantes questões da sociedade colombiana desde os anos 1960. Com formação em sociologia e antropologia, estuda cinema com Jean Rouch e realiza, ao lado do fotógrafo Jorge Silva, filmes nos quais desenvolve um método próprio, que associa a militância política com a observação participante antropológica. No entanto, é possível afirmar a existência de duas linhas gerais em sua obra: 1) filmes marcados pelo método ímpar de trabalho construído por ela e Silva a partir da convivência com as comunidades retratadas e 2) filmes marcados pela urgência. Ambas se inter-relacionam. Posto isso, são pertinentes as seguintes questões: 1) existem diferenças estéticas entre as duas vertentes mencionadas acima?; 2) que transformações estéticas existem, em linhas gerais, na obra de Rodríguez e Silva?; 3) é possível identificar algum traço em comum em todos esses filmes?
Abstract: Documentarist Marta Rodríguez's significant work addresses relevant questions of Colombian society since the 1960s. Her training in sociology and anthropology, as well in cinema with Jean Rouch, allowed her to develop together with photographer Jorge Silva, a method that combines political activism with anthropological participant observation. However, two main lines can be identified in her work: 1) films marked by their unique method produced while they lived with the communities portrayed, and; 2) films defined by urgency. Since both lines are interrelated, this paper analyzes the following questions: 1) are there aesthetic differences between the two aforementioned aspects?; 2) which aesthetic transformations can be discerned in the work of Rodríguez and Silva ?; and 3) do all of their movies share common traits?
MATRIZes, 2014
Resumo: Grau 26 – a origem (Anthony E. Zuiker e Duane Swierczynski, 2009) é definido, em sua pro... more Resumo: Grau 26 – a origem (Anthony E. Zuiker e Duane Swierczynski, 2009) é definido, em sua própria capa, como o primeiro romance digital interativo ou digilivro. Voltado para o público jovem mundial, integra leitura em papel (que é o ponto de partida), redes sociais e diversos microcurtas que podem ser acessados via internet. O presente estudo tem por objetivo investigar: 1) como são construídas as relações entre as diferentes mídias acionadas em Grau 26 – a origem; e 2) possibilidades e limites da interatividade para os leitores/internautas/espectadores brasileiros.
Abstract: Level 26: Dark Origins (Anthony E. Zuiker e Duane Swierczynski, 2009) is defined, on its cover, as the first interactive digital novel or digi-novel. Its target readers are young people worldwide. It combines the paper book (which is the starting point) social community and short films that may be accessed over the internet. The objective of this paper is to investigate: 1) how the relationship between the different Media on Level 26: Dark Origins is built; and 2) possibilities and limits concerning interaction among readers/ internet users /Brazilian viewers.
Cinémas d’Amérique latine, 2014
Resumo :Este artigo apresenta alguns dos resultados de uma pesquisa ainda em desenvolvimento sobr... more Resumo :Este artigo apresenta alguns dos resultados de uma pesquisa ainda em desenvolvimento sobre as diretoras de cinema que participaram do Nuevo Cine Latinoamericano (NCL), as quais em geral não constam nas inúmeras obras bibliográficas produzidas sobre aquele que provavelmente é o mais famoso movimento cinematográfico surgido em nossa região.
Résumé: Cet article présente quelques résultats d’une nouvelle recherche encore en développement sur les réalisatrices qui participèrent au Nouveau cinéma latino-américain (NCL), et qui, en général, ne figurent pas dans les innombrables œuvres bibliographiques publiées sur ce qui constitue probablement le plus célèbre mouvement cinématographique de cette région.
Cine Documental, 2014
Resumen: La documentalista Marta Rodríguez, considerada una de las pocas cineastas mujeres del "... more Resumen: La documentalista Marta Rodríguez, considerada una de las pocas cineastas mujeres del "Nuevo Cine Latinoamericano" (NCL), posee una singular obra fílmica que aborda relevantes cuestiones de la sociedad colombiana desde los años sesenta. Este artículo tiene por objetivo presentar los resultados de una investigación sobre el método de trabajo desarrollado por Rodríguez, junto con el fotógrafo Jorge Silva, tomando como base seis documentales en los cuales trabajaron juntos. Un método muy particular, construido a través de la confrontación de las teorías de Cine y Antropología con el proceso de realización fílmica, sobre el cual es necesario reflexionar tanto por las innovaciones que trajo a la época como por la actualidad de algunos temas que se colocan.
Abstract: The documentarian Marta Rodríguez, considered one of the few women filmmakers of the New Latin American Cinema (NCL), possesses a singular film work that tackles notable questions of the Colombian society since the years 1960. This article has by aim present the results of an investigation on the method of work developed by Rodríguez, together with the photographer Jorge Silva, in the course of the six documentaries that the two of them made. A very particular method, built through the confrontation of the film theories and of the anthropology with the process of realisation of films, on which is necessary to reflect so much by the innovations that brought to the period as by the actuality of some questions that puts.
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Artigos by Marina C A V A L C A N T I Tedesco
The universe of Latin America documentary, from de 1960s on, has been widely studied by scholars. In fact, it is the decade that brought great aesthetic ruptures for the cinema made in the region, and which influence on many productions can be noted until today. However, it is also important to dedicate our researches to other historical periods. For instance, non-fiction productions made in Latin America between 1950 and 1955. Understood as a transitional filmography, it is composed of works that are more than predecessors of Nuevo Cine Latinoamericano, and which can bring issues to contemporary documentary. It is the case of Reverón (1952), directed by Margot Benacerraf. On this paper, we analyze some of the elements of such singular film: its circular aesthetic and structure; its parsimonious use of a poetic narration; the director´s ethics in portraying its character; and the presence of fictional gender conventions, such as terror cinema, in a documentary production.
L’univers des documentaires latino-américains réalisés depuis les années 1960 a déjà été largement étudié. En effet, cette décennie a été marquée par des bouleversements majeurs pour le cinéma de cette région et l’influence de cette période est encore visible aujourd’hui dans certains films. Mais il faut également orienter nos recherches vers d’autres moments historiques. C’est le cas des productions non-fictionnelles réalisées en Amérique latine entre 1950 et 1955, habituellement considérées comme une filmographie de transition. Pourtant, ces œuvres ne doivent pas être vues seulement en relation au Nuevo Cine Latinoamericano qu’elles précèdent, car elles peuvent ouvrir des questions intéressantes pour le documentaire contemporain. C’est le cas de Reverón (1952), réalisé par Margot Benacerraf. Dans cet article, nous analyserons quelques éléments de ce film si particulier : sa structure et son esthétique circulaires ; son usage subtil de la narration poétique ; l’éthique de la réalisatrice dans la représentation de son personnage ; et la présence de conventions de genres fictionnels (comme les films d’horreur) dans une production documentaire.
Palavras-chave: cinema; mulheres; unidade popular; análise.
Abstract: Some films produced during the Popular Unity - UP government (1970-1973) entered the canon not only of Chilean cinema, but of Latin American cinema. Consequently, they have been studied a lot over the years, while another part of the filmography made in Chile in that period had little or no visibility. Examples of this second case are the cinematographic works directed by women in the early 1970s, although, fortunately, some of these filmmakers are increasingly the subject of studies and exhibitions. However, even in the recent bibliography, the productions with women filmmakers made in the days of the UP were not conceived together. It is this contribution to research on women's cinema in Latin America that is the purpose of this article. After carrying out a survey based on several sources, we arrived at a corpus of 15 works, which were analyzed from the following aspects: composition of the direction; Format; narrative genre; form of financing and production structure; if it has an interview; if it has narration; if there is music (if so, what is its role); from which logics are built the relations between image and sound; assembly logic.
Keywords: cinema; women; popular unity; analysis.
Infelizmente não posso disponibilizar o artigo, que está nesse link: https://intellectdiscover.com/content/journals/10.1386/fint_00234_1
Resumen: La venezolana Margot Benacerraf ha realizado, en los años 1950, dos filmes de gran repercusión. Las relaciones entre esas obras, el proyecto de cine de la directora y el Nuevo Cine Latinoamericano (NCL) son varias. Sin embargo, Benacerraf casi no es citada en las publicaciones sobre el movimiento. Pretendemos, en ese artículo, demonstrar que: 1) Benacerraf es una (no) pionera del Nuevo Cine Latinoamericano; 2) ella estuvo conectada de distintas maneras con el NCL, sus eventos y participantes; e 3) su invisibilidad en la historia del movimiento se debe a diferentes aspectos del machismo que estructura nuestra región, y que invisibiliza y interrumpe trayectorias de mujeres.
Abstract: The Venezuelan Margot Benacerraf directed, in the 1950s, two films of great repercussion. There are many relationships between the director's film project and Nuevo Cine Latinoamericano (NCL). However, Benacerraf is hardly mentioned in publications about this movement. We intend to demonstrate that: 1) Benacerraf is a (non) pioneer of Nuevo Cine Latinoamericano; 2) she has been connected in many ways with the NCL, its events and participants; and 3) her invisibility in the movement's history is due to different aspects of the sexism that structures Latin America, and makes women's careers invisible and disruptive.
Resumen: A partir de la década de 1960, las feministas latinoamericanas empezaron, individualmente o en colectivos, a realizar películas. Hasta el momento, gran parte de la bibliografía sobre cine pionero feminista en América Latina tendió a centrarse en países y en realizadoras, pero es igualmente importante mirar dicha filmografía desde una perspectiva subcontinental y que de protagonismo a los colectivos. Por ello, presentamos en este texto un panorama (parcial) del cine feminista latinoamericano entre las décadas de 1960 y 1980, compuesto por obras de los colectivos Cine Mujer de México, Cine Mujer de Colombia y Grupo Feminista Miércoles, y de las cineastas Helena Solberg, Kitico Moreno, María Luisa Bemberg y Sara Gómez.
Abstract: From the 1960s, Latin American feminists started to make movies, individually or through collectives. The bibliography pioneering Feminist cinema in Latin America tended to focus on countries and female filmmakers, but it is equally important to look at such filmography from a subcontinental perspective and to give prominence to collectives. For this reason, we present in this text a partial overview of Latin American feminist cinema between the 1960s and 1980s, composed of works by the collectives Cine Mujer of Mexico, Cine Mujer of Colombia and Grupo Feminista Miércoles, and by filmmakers Helena Solberg, Kitico Moreno, María Luisa Bemberg and Sara Gómez.
Resumen: Sara Gómez, mujer negra y primera directora cubana, es estudiada hace algunas décadas, debido a las cuestiones de género y de raza presentes en su filmografía. No obstante, existen otros aspectos de la carrera de la realizadora extremamente importantes y que casi no fueron discutidos. En el presente texto, trataremos su condición de pionera en el cine no ficcional autobiográfico a través de una investigación sobre Guanabacoa: Crónica de mi familia (1966). Para una mejor comprensión de la importancia de este filme haremos, después de una breve presentación de la cineasta, algunas consideraciones sobre el documental en primera persona y autobiográfico. Enseguida, recurriremos a la revisión de la bibliografía y al análisis fílmico a fin de identificar de qué forma Gómez construyó su auto-inscripción cinematográfica y la manera como ésta le permitió acceder a su familia y hablar sobre algo más amplio: ser negro o negra en la isla, antes y después de la Revolución.
Abstract: Sara Gómez, black woman and first female Cuban director, has been studied for decades, due to the gender and race issues present in her filmography. However, there are other aspects of the filmmaker's career that are extremely important and were hardly discussed. In the present text, we will treat her condition as a pioneer in autobiographical non-fictional cinema through an investigation on Guanabacoa: Crónica de mi familia (1966). For a better understanding of the importance of this film, we will make, after a brief presentation of the filmmaker, some considerations about the documentary in the first person and autobiographical. Next, we will resort to a review of the bibliography and a filmic analysis in order to identify how Gómez built his cinematographic self-registration and how it allowed her to access her family and talk about something broader: being a black man or black woman in the island, before and after the Revolution.
Abstract: In the 1970´s, women of the Brazilian cinema began to debate, collectively and publicly, the inequalities that they experienced, creating the Brazilian Association of Women in Cinema. At the same time, they turned to the past in order to value the fundamental figures for understanding of “The woman in Brazilian cinema: from the character to the filmaker”, the name of a event held at the Modern Art Museum of Rio de Janeiro, in 1975. It is in this context that the first film dedicated to telling this story is shot: Mulheres de cinema (1976), by Ana Maria Magalhães. After Mulheres de Cinema, it is possible to find Other series on this theme, such as Mulheres no Cinema, show in 1993 by the extinct Rede Manchete, As mulheres no Cinema Brasileiro, broascast by Canal Brasil in 2001, and As Protagonistas, scheduled to premiere in 2021. In this article we propose to analyze how the actress, producer and diretor Carmen Santos, one of the most importante and controversial women in the history of Brazilian cinema, is built on Mulheres de Cinema, Mulheres no Cinema, As mulheres no Cinema Brasileiro and As Protagonistas. Our analyses dialogue with the historiographic and feminist debates that are rethinking nacional cinematography.
Abstract: The New Latin American Cinema (NCL), the most well-known cinematographic movement in the history of Latin American cinema, started to have its canon conceived during its first years. Directors and critics who worked at that time had a decisive participation in this construction, and they strongly influenced the bibliography that has been written until today. In this article, we will investigate, from the perspective that the gender is a useful historical analysis category, how, by whom and inside what political culture the NCL canon was engendered. We will also discuss the possibilities that were presented to male and female filmmakers at that time to influence and/or question the canon of the movement and its most important texts, and the challenge of constructing a history that would make women filmmakers visible without deleting the invisibilization processes they lived.
Abstract: The Cuban documentary made after 1959’s Revolution has an ironic and sarcastic language using diverse sources to produce a homogenous militant discourse. In this article, I will discuss the contribution of the filmmaker Sara Gómez in the process of constructing this language, based on the analysis of "Historia de la piratería" (1962).
Abstract: In the 1980s the hurricane of revolutions that passed through Latin America was losing power and concentrating in Central America. Such processes left a great deal of film where someone tried to register them. Brazil was living the end of a counterrevolutionary period. Because of that, filmmakers had to appeal to fiction or “borrowed” contexts, as in the case of From the ashes ... Nicaragua today (1982) and El pequeño ejército loco (1984). This article analyzes these two documentaries, unique within the Brazilian filmography, both for “filming the revolution” and for having women as protagonists of this gesture. It considers the following aspects: target audience, mode of production, duration of filmmaking and language strategies.
Abstract: Nora de Izcue, the first woman filmmaker in the history of Peru, directs Encuentro, her debut film in 1967, bringing to the screen a middle‐class woman who sought to make sense of her life. In the early 1970s, she gives a strong turn towards the political cinema. Such an option for privileging situations of oppression and social struggles, along with the role played by women in Latin America at the time, postponed her return with a female protagonist to 1982 with El viento del ayahuasca. This paper will analyse the newly quoted production, Pobladoras de cerros y arenales (1986), Color de mujer (1990) and Elena Izcue: La armonía silenciosa (1998) in order to understand who are the female protagonists in Nora de Izcue film career.
Abstract: a global look at filming production shows that cinematography is the field in which fewer women are employed. According to a research started in 2014, at least between fictional feature films, the international tendency is not much different from the Brazilian scene, although changes are noticed in a slow pace as well as in other countries. It is important to underline, however, that the difficulties for women to work in cinematography are not shown only by the quantitative data. If there are problems to enter the field, it is also complicated to stay. In this arti- cle, we will introduce the preliminary data of our research, still on going, and discuss some of it’s results.
Abstract :The binarism perceived in relations masculine man/feminine woman and heterosexuality/homosexuality has grounded, historically, both prescriptions and practices of the “good” cinematographic photograph. These are strong assumptions to the cinematography direction, which are inlaid on the very critical reflection of this aspect of the are. Therefore, is necessary to develop new concepts and categories to understand how the cinematography direction joins the construction of filmic discourse about sexualities and sex-genre-desire abject combinations. In order to take the first steps onto this direction, we propose a study of the trilogy of the Argentine director Marco Berger, composed with “Hawaii” (2013), “Ausente” (2011) and “Plan B” (2009).
Abstract: Documentarist Marta Rodríguez's significant work addresses relevant questions of Colombian society since the 1960s. Her training in sociology and anthropology, as well in cinema with Jean Rouch, allowed her to develop together with photographer Jorge Silva, a method that combines political activism with anthropological participant observation. However, two main lines can be identified in her work: 1) films marked by their unique method produced while they lived with the communities portrayed, and; 2) films defined by urgency. Since both lines are interrelated, this paper analyzes the following questions: 1) are there aesthetic differences between the two aforementioned aspects?; 2) which aesthetic transformations can be discerned in the work of Rodríguez and Silva ?; and 3) do all of their movies share common traits?
Abstract: Level 26: Dark Origins (Anthony E. Zuiker e Duane Swierczynski, 2009) is defined, on its cover, as the first interactive digital novel or digi-novel. Its target readers are young people worldwide. It combines the paper book (which is the starting point) social community and short films that may be accessed over the internet. The objective of this paper is to investigate: 1) how the relationship between the different Media on Level 26: Dark Origins is built; and 2) possibilities and limits concerning interaction among readers/ internet users /Brazilian viewers.
Résumé: Cet article présente quelques résultats d’une nouvelle recherche encore en développement sur les réalisatrices qui participèrent au Nouveau cinéma latino-américain (NCL), et qui, en général, ne figurent pas dans les innombrables œuvres bibliographiques publiées sur ce qui constitue probablement le plus célèbre mouvement cinématographique de cette région.
Abstract: The documentarian Marta Rodríguez, considered one of the few women filmmakers of the New Latin American Cinema (NCL), possesses a singular film work that tackles notable questions of the Colombian society since the years 1960. This article has by aim present the results of an investigation on the method of work developed by Rodríguez, together with the photographer Jorge Silva, in the course of the six documentaries that the two of them made. A very particular method, built through the confrontation of the film theories and of the anthropology with the process of realisation of films, on which is necessary to reflect so much by the innovations that brought to the period as by the actuality of some questions that puts.
The universe of Latin America documentary, from de 1960s on, has been widely studied by scholars. In fact, it is the decade that brought great aesthetic ruptures for the cinema made in the region, and which influence on many productions can be noted until today. However, it is also important to dedicate our researches to other historical periods. For instance, non-fiction productions made in Latin America between 1950 and 1955. Understood as a transitional filmography, it is composed of works that are more than predecessors of Nuevo Cine Latinoamericano, and which can bring issues to contemporary documentary. It is the case of Reverón (1952), directed by Margot Benacerraf. On this paper, we analyze some of the elements of such singular film: its circular aesthetic and structure; its parsimonious use of a poetic narration; the director´s ethics in portraying its character; and the presence of fictional gender conventions, such as terror cinema, in a documentary production.
L’univers des documentaires latino-américains réalisés depuis les années 1960 a déjà été largement étudié. En effet, cette décennie a été marquée par des bouleversements majeurs pour le cinéma de cette région et l’influence de cette période est encore visible aujourd’hui dans certains films. Mais il faut également orienter nos recherches vers d’autres moments historiques. C’est le cas des productions non-fictionnelles réalisées en Amérique latine entre 1950 et 1955, habituellement considérées comme une filmographie de transition. Pourtant, ces œuvres ne doivent pas être vues seulement en relation au Nuevo Cine Latinoamericano qu’elles précèdent, car elles peuvent ouvrir des questions intéressantes pour le documentaire contemporain. C’est le cas de Reverón (1952), réalisé par Margot Benacerraf. Dans cet article, nous analyserons quelques éléments de ce film si particulier : sa structure et son esthétique circulaires ; son usage subtil de la narration poétique ; l’éthique de la réalisatrice dans la représentation de son personnage ; et la présence de conventions de genres fictionnels (comme les films d’horreur) dans une production documentaire.
Palavras-chave: cinema; mulheres; unidade popular; análise.
Abstract: Some films produced during the Popular Unity - UP government (1970-1973) entered the canon not only of Chilean cinema, but of Latin American cinema. Consequently, they have been studied a lot over the years, while another part of the filmography made in Chile in that period had little or no visibility. Examples of this second case are the cinematographic works directed by women in the early 1970s, although, fortunately, some of these filmmakers are increasingly the subject of studies and exhibitions. However, even in the recent bibliography, the productions with women filmmakers made in the days of the UP were not conceived together. It is this contribution to research on women's cinema in Latin America that is the purpose of this article. After carrying out a survey based on several sources, we arrived at a corpus of 15 works, which were analyzed from the following aspects: composition of the direction; Format; narrative genre; form of financing and production structure; if it has an interview; if it has narration; if there is music (if so, what is its role); from which logics are built the relations between image and sound; assembly logic.
Keywords: cinema; women; popular unity; analysis.
Infelizmente não posso disponibilizar o artigo, que está nesse link: https://intellectdiscover.com/content/journals/10.1386/fint_00234_1
Resumen: La venezolana Margot Benacerraf ha realizado, en los años 1950, dos filmes de gran repercusión. Las relaciones entre esas obras, el proyecto de cine de la directora y el Nuevo Cine Latinoamericano (NCL) son varias. Sin embargo, Benacerraf casi no es citada en las publicaciones sobre el movimiento. Pretendemos, en ese artículo, demonstrar que: 1) Benacerraf es una (no) pionera del Nuevo Cine Latinoamericano; 2) ella estuvo conectada de distintas maneras con el NCL, sus eventos y participantes; e 3) su invisibilidad en la historia del movimiento se debe a diferentes aspectos del machismo que estructura nuestra región, y que invisibiliza y interrumpe trayectorias de mujeres.
Abstract: The Venezuelan Margot Benacerraf directed, in the 1950s, two films of great repercussion. There are many relationships between the director's film project and Nuevo Cine Latinoamericano (NCL). However, Benacerraf is hardly mentioned in publications about this movement. We intend to demonstrate that: 1) Benacerraf is a (non) pioneer of Nuevo Cine Latinoamericano; 2) she has been connected in many ways with the NCL, its events and participants; and 3) her invisibility in the movement's history is due to different aspects of the sexism that structures Latin America, and makes women's careers invisible and disruptive.
Resumen: A partir de la década de 1960, las feministas latinoamericanas empezaron, individualmente o en colectivos, a realizar películas. Hasta el momento, gran parte de la bibliografía sobre cine pionero feminista en América Latina tendió a centrarse en países y en realizadoras, pero es igualmente importante mirar dicha filmografía desde una perspectiva subcontinental y que de protagonismo a los colectivos. Por ello, presentamos en este texto un panorama (parcial) del cine feminista latinoamericano entre las décadas de 1960 y 1980, compuesto por obras de los colectivos Cine Mujer de México, Cine Mujer de Colombia y Grupo Feminista Miércoles, y de las cineastas Helena Solberg, Kitico Moreno, María Luisa Bemberg y Sara Gómez.
Abstract: From the 1960s, Latin American feminists started to make movies, individually or through collectives. The bibliography pioneering Feminist cinema in Latin America tended to focus on countries and female filmmakers, but it is equally important to look at such filmography from a subcontinental perspective and to give prominence to collectives. For this reason, we present in this text a partial overview of Latin American feminist cinema between the 1960s and 1980s, composed of works by the collectives Cine Mujer of Mexico, Cine Mujer of Colombia and Grupo Feminista Miércoles, and by filmmakers Helena Solberg, Kitico Moreno, María Luisa Bemberg and Sara Gómez.
Resumen: Sara Gómez, mujer negra y primera directora cubana, es estudiada hace algunas décadas, debido a las cuestiones de género y de raza presentes en su filmografía. No obstante, existen otros aspectos de la carrera de la realizadora extremamente importantes y que casi no fueron discutidos. En el presente texto, trataremos su condición de pionera en el cine no ficcional autobiográfico a través de una investigación sobre Guanabacoa: Crónica de mi familia (1966). Para una mejor comprensión de la importancia de este filme haremos, después de una breve presentación de la cineasta, algunas consideraciones sobre el documental en primera persona y autobiográfico. Enseguida, recurriremos a la revisión de la bibliografía y al análisis fílmico a fin de identificar de qué forma Gómez construyó su auto-inscripción cinematográfica y la manera como ésta le permitió acceder a su familia y hablar sobre algo más amplio: ser negro o negra en la isla, antes y después de la Revolución.
Abstract: Sara Gómez, black woman and first female Cuban director, has been studied for decades, due to the gender and race issues present in her filmography. However, there are other aspects of the filmmaker's career that are extremely important and were hardly discussed. In the present text, we will treat her condition as a pioneer in autobiographical non-fictional cinema through an investigation on Guanabacoa: Crónica de mi familia (1966). For a better understanding of the importance of this film, we will make, after a brief presentation of the filmmaker, some considerations about the documentary in the first person and autobiographical. Next, we will resort to a review of the bibliography and a filmic analysis in order to identify how Gómez built his cinematographic self-registration and how it allowed her to access her family and talk about something broader: being a black man or black woman in the island, before and after the Revolution.
Abstract: In the 1970´s, women of the Brazilian cinema began to debate, collectively and publicly, the inequalities that they experienced, creating the Brazilian Association of Women in Cinema. At the same time, they turned to the past in order to value the fundamental figures for understanding of “The woman in Brazilian cinema: from the character to the filmaker”, the name of a event held at the Modern Art Museum of Rio de Janeiro, in 1975. It is in this context that the first film dedicated to telling this story is shot: Mulheres de cinema (1976), by Ana Maria Magalhães. After Mulheres de Cinema, it is possible to find Other series on this theme, such as Mulheres no Cinema, show in 1993 by the extinct Rede Manchete, As mulheres no Cinema Brasileiro, broascast by Canal Brasil in 2001, and As Protagonistas, scheduled to premiere in 2021. In this article we propose to analyze how the actress, producer and diretor Carmen Santos, one of the most importante and controversial women in the history of Brazilian cinema, is built on Mulheres de Cinema, Mulheres no Cinema, As mulheres no Cinema Brasileiro and As Protagonistas. Our analyses dialogue with the historiographic and feminist debates that are rethinking nacional cinematography.
Abstract: The New Latin American Cinema (NCL), the most well-known cinematographic movement in the history of Latin American cinema, started to have its canon conceived during its first years. Directors and critics who worked at that time had a decisive participation in this construction, and they strongly influenced the bibliography that has been written until today. In this article, we will investigate, from the perspective that the gender is a useful historical analysis category, how, by whom and inside what political culture the NCL canon was engendered. We will also discuss the possibilities that were presented to male and female filmmakers at that time to influence and/or question the canon of the movement and its most important texts, and the challenge of constructing a history that would make women filmmakers visible without deleting the invisibilization processes they lived.
Abstract: The Cuban documentary made after 1959’s Revolution has an ironic and sarcastic language using diverse sources to produce a homogenous militant discourse. In this article, I will discuss the contribution of the filmmaker Sara Gómez in the process of constructing this language, based on the analysis of "Historia de la piratería" (1962).
Abstract: In the 1980s the hurricane of revolutions that passed through Latin America was losing power and concentrating in Central America. Such processes left a great deal of film where someone tried to register them. Brazil was living the end of a counterrevolutionary period. Because of that, filmmakers had to appeal to fiction or “borrowed” contexts, as in the case of From the ashes ... Nicaragua today (1982) and El pequeño ejército loco (1984). This article analyzes these two documentaries, unique within the Brazilian filmography, both for “filming the revolution” and for having women as protagonists of this gesture. It considers the following aspects: target audience, mode of production, duration of filmmaking and language strategies.
Abstract: Nora de Izcue, the first woman filmmaker in the history of Peru, directs Encuentro, her debut film in 1967, bringing to the screen a middle‐class woman who sought to make sense of her life. In the early 1970s, she gives a strong turn towards the political cinema. Such an option for privileging situations of oppression and social struggles, along with the role played by women in Latin America at the time, postponed her return with a female protagonist to 1982 with El viento del ayahuasca. This paper will analyse the newly quoted production, Pobladoras de cerros y arenales (1986), Color de mujer (1990) and Elena Izcue: La armonía silenciosa (1998) in order to understand who are the female protagonists in Nora de Izcue film career.
Abstract: a global look at filming production shows that cinematography is the field in which fewer women are employed. According to a research started in 2014, at least between fictional feature films, the international tendency is not much different from the Brazilian scene, although changes are noticed in a slow pace as well as in other countries. It is important to underline, however, that the difficulties for women to work in cinematography are not shown only by the quantitative data. If there are problems to enter the field, it is also complicated to stay. In this arti- cle, we will introduce the preliminary data of our research, still on going, and discuss some of it’s results.
Abstract :The binarism perceived in relations masculine man/feminine woman and heterosexuality/homosexuality has grounded, historically, both prescriptions and practices of the “good” cinematographic photograph. These are strong assumptions to the cinematography direction, which are inlaid on the very critical reflection of this aspect of the are. Therefore, is necessary to develop new concepts and categories to understand how the cinematography direction joins the construction of filmic discourse about sexualities and sex-genre-desire abject combinations. In order to take the first steps onto this direction, we propose a study of the trilogy of the Argentine director Marco Berger, composed with “Hawaii” (2013), “Ausente” (2011) and “Plan B” (2009).
Abstract: Documentarist Marta Rodríguez's significant work addresses relevant questions of Colombian society since the 1960s. Her training in sociology and anthropology, as well in cinema with Jean Rouch, allowed her to develop together with photographer Jorge Silva, a method that combines political activism with anthropological participant observation. However, two main lines can be identified in her work: 1) films marked by their unique method produced while they lived with the communities portrayed, and; 2) films defined by urgency. Since both lines are interrelated, this paper analyzes the following questions: 1) are there aesthetic differences between the two aforementioned aspects?; 2) which aesthetic transformations can be discerned in the work of Rodríguez and Silva ?; and 3) do all of their movies share common traits?
Abstract: Level 26: Dark Origins (Anthony E. Zuiker e Duane Swierczynski, 2009) is defined, on its cover, as the first interactive digital novel or digi-novel. Its target readers are young people worldwide. It combines the paper book (which is the starting point) social community and short films that may be accessed over the internet. The objective of this paper is to investigate: 1) how the relationship between the different Media on Level 26: Dark Origins is built; and 2) possibilities and limits concerning interaction among readers/ internet users /Brazilian viewers.
Résumé: Cet article présente quelques résultats d’une nouvelle recherche encore en développement sur les réalisatrices qui participèrent au Nouveau cinéma latino-américain (NCL), et qui, en général, ne figurent pas dans les innombrables œuvres bibliographiques publiées sur ce qui constitue probablement le plus célèbre mouvement cinématographique de cette région.
Abstract: The documentarian Marta Rodríguez, considered one of the few women filmmakers of the New Latin American Cinema (NCL), possesses a singular film work that tackles notable questions of the Colombian society since the years 1960. This article has by aim present the results of an investigation on the method of work developed by Rodríguez, together with the photographer Jorge Silva, in the course of the six documentaries that the two of them made. A very particular method, built through the confrontation of the film theories and of the anthropology with the process of realisation of films, on which is necessary to reflect so much by the innovations that brought to the period as by the actuality of some questions that puts.
Abstract: In the 1980s the hurricane of revolutions that passed through Latin America was losing power and concentrating in Central America. Such processes left a great deal of film where someone tried to register them. Brazil was living the end of a counterrevolutionary period. Because of that, filmmakers had to appeal to fiction or “borrowed” contexts, as in the case of From the ashes ... Nicaragua today (1982) and El pequeño ejército loco (1984). This article analyzes these two documentaries, unique within the Brazilian filmography, both for “filming the revolution” and for having women as protagonists of this gesture. It considers the following aspects: target audience, mode of production, duration of filmmaking and language strategies.
de Pablo Fontana; "Mulheres, projeto não realizado de Esfir Chub", de Marina Cavalcanti Tedesco; "Lares opressores e mulheres no cinema, de Tatiana Lióznova", de Camila Vieira da Silva; "A terra prometida de Iúliia Solntseva", de Juliana Costa; "Diretora interrompida: a radicalidade lírica de Larissa Chepítko", de Paula Vaz de Almeida; "A mulher soviética no pós-guerra: uma análise de Asas", Debora Kaizer; "A arte desnecessária de Kira Murátova", de Ekaterina Vólkova Américo.
"Feminino e plural: mulheres no cinema brasileiro" é uma coletânea composta por 16 capítulos: "Cléo de Verberena e o trabalho da mulher no cinema silencioso brasileiro", de Luciana Corrêa de Araújo; "Gilda Bojunga; caminhos e percalços de uma afirmação", de Sheila Schvarzman; "Cinema brasileiro (moderno) de autoria feminina", de Karla Holanda; "Cineastas brasileiras (feministas) durante a ditadura militar", de Alcilene Cavalcanti; "Estéticas e políticas de resistência no 'cinema de mulheres' brasileiro (anos 1970 e 1980), de Ana Maria Veiga; "Helena Solberg: militância feminista e política nas Américas", de Mariana Ribeiro Tavares; "O discurso historiográfico em Mulheres de Cinema", de Luís Alberto Rocha Melo; "Articulações feministas no cinema brasileiro nas décadas de 1970 e 1980", de Marina Cavalcanti Tedesco e Érica Sarmet; "Cassandra Rios e o cinema erótico brasileiro: autoria e performatividade", de Alessandra Soares Brandão e Ramayana Lira de Sousa; "Protagonismos experimentais femininos no surto superoitista dos anos 1980", de Rubens Machado Júnior e Marina da Costa Campos; "Identidade, resistência e poder: mulheres negras e a realização de documentários", de Gilberto Alexandre Sobrinho; "Formas de visibilidade e (re)existência no cinema de mulheres negras", de Ceiça Ferreira e Edileuza Penha de Souza; "Amor, plástico e barulho: protagonismo e rivalidade feminina como elementos estéticos e narrativos no cinema pernambucano", de Daiany F. Dantas, Isaiana Santos e Renata I. F. Nolasco; "Documentário biográfico e protagonismo feminino", de Denise Tavares; "Do pai ao país: o documentário autobiográfico em face do fracasso das esquerdas no Brasil", de Ilana Feldman; "Dora e a luta histórica contra os fascismos: subversão e limiar em Retratos de Identificação", de Roberta Veiga.