“Concave-feminist constructs and grammars of audiovisual montage in Latin America (1986-2012)”
Supervisor: Prof. Dr. Riánsares Lozano de la Pola (UNAM)
This project addresses issues of representation, subjectivities and restitution of bodies in the media. The aim of this inquiry is to distinguish an assembly, an exercise in feminist assembly, for a possible film "contraescritura" by studying peripheral experimental film productions and video art made between 1986 and 2012 in Latin America.
This exploration is woven and articulated from a heterogeneous corpus of film achievements made by women filmmakers, collectives and subaltern subject who revolt with the lens and their bodies, compared with other Latin American contexts of domination, violence, discrimination, oppression, injustice and historic invisibility.
By tracking statements and expressions of urgency, the intention is to recognize, in audiovisual expressions of that period, a type of constituted and reactivated montage from the search for not only symbolic restitution of subjectivities, but also dialectical and constitutive of the bodies in a permanent dialogue between a strong personal place and a declarative community.
To recognize and examine the motives, traits and modes of feminist discourse assembly of this analysis, the concept of "concave assemblies” is introduced and developed. This proposal comes in mounting concavity of the questions, statements and reports of the new Latin American cinema (60-70 years), feminism (actions, practices and film theories) and video art. In turn, in this triangulation are crossed and included other artistic expressions, cognitive and empowerment tools, such as performance (seen from the video art) and weaving (identified as folk artistic practices).
In addition to this, to study the discursive and establishing an alternate assembly of audiovisual constructs, it is part of the ideas of theoretical and applied semiotic theorists movie (Mitry, Metz, Kristeva, De Lauretis, Barthes), who identify cinema as an art of movement, expressive and communicative tool and also as a potential language that has a highly significant process.
In the direction of the foregoing, it delves into the observation of the joint audiovisual constructs continuity to the question posed by this significant process in film, undertaken by theoretical and research feminists (Mulvey, De Lauretis, Kuhn, Millan, Pech , Juhasz, Kaplan, Johnston, Cusicanqui). The aforementioned film as distinguished thinkers core of gender technologies, and to identify, in their representation mechanisms, functions very attached to the beginning of this cinematic art, such as produce, reproduce and preserve joints and representations of inequalities symbolic. This is done by way of ideological control sites and reproduction of violence, in relation to the prime locations of looking and articulate, the view favored registration and distribution channels.
To explain the central term of this project, the notion of concavity which has been explored by feminist Luce Irigaray in the image concave mirror is resumed. Through this idea, the author founded a parallel with the subversive need for women, which projects, strategically, in an interior that is not controlled by male subjects that range from the outside.
To convey, with a twist turning, into a space that raises other forms of recognition, a territory that proposed the idea of a genuine own mirror of femininity which turns on itself and reveals an unconscious that is rediscovered, in turn, terminates the comfort, security and external intervention subjects. It is, then, an encounter with an interior that new forms of recognition models based on self-reflection.
Therefore, although the starting point of this research, to some extent draws on the powerful inquiries Irigaray, in this review of the assembly's term concavity it takes to boot the territory of its own or intimate reflections, to meet an opening, refraction and multiple exchange according to the Community dimension of the subjects. It can be seen in the arrangement of hollowness of the term, the involvement of immersion and inclusion, ie participatory look, a look that invites us to look from a position internalized located and shared is discovered.