Ensayistas: cartografías de la experimentación y las experiencias fílmicas
[EN] The filmic essay has long been subordinated as a distillation of other genres such as documentaries or literature. Despite the fact that this has laid the foundations on which to begin to analyze these formats, others have erred in forgetting the audiovisual character compared to the literary h...
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| Tipo de recurso: | capítulo de libro |
| Fecha de publicación: | 2022 |
| País: | España |
| Institución: | Universitat Politècnica de València (UPV) |
| Repositorio: | RiuNet. Repositorio Institucional de la Universitat Politécnica de Valéncia |
| Idioma: | español |
| OAI Identifier: | oai:riunet.upv.es:10251/183301 |
| Acceso en línea: | https://riunet.upv.es/handle/10251/183301 |
| Access Level: | acceso abierto |
| Palabra clave: | Ensayo fílmico Cine Vídeo Montaje Imagen Film-Essay Cinema Image Assembly |
| Sumario: | [EN] The filmic essay has long been subordinated as a distillation of other genres such as documentaries or literature. Despite the fact that this has laid the foundations on which to begin to analyze these formats, others have erred in forgetting the audiovisual character compared to the literary heritage (Lopate, 2007). For this reason, it is necessary to rethink the nature of this category, which exceeds the classical typologies due to its capacity for experimentation in forms, as well as its plastic malleability when working with moving images. This fact is reflected in how it fluctuates narratologically between fiction, non-fiction and experimentation (Weinrichter, 2007). The critic André Bazin has been considered one of the first to speak of the possibility of the essayistic in the cinema (García, 2006), an idea similar to the caméra-stylo proposed by Alexandre Astruc (Rascaroli, 2017) and coinciding with the same turning point: a representation of the author's ability to represent himself in favor of an intimate and personal proposal. That is why, in its own hybrid capacity, it is known as a hyper-gender (Catala, 2005) capable of exploring the complexities of the rhizomatic relationships of thought, through the videographic record (Rodriguez, 2011), when facing to the decisions of structuring the videos (Amiel, 2005). On the other hand, this is possible due to its unsystematic nature, which provokes dialectical encounters that single out the discontinuities and, thus, are unified through the ruptures that open up in the assembly process (Provitina, 2014). Thus, this device has proven to be a critical tool, heretical of thought (Adorno, 2003), which does not allow itself to be dogmatized when facing the act of mapping the different visual economies, which are usually based on personal experiences and their link with their cultural contexts. Thus, this communication tries to bring together what would be considered an audiovisual essay and how it would work by exploring the identities reflected on the montage. For this, different proposals that delve into these paradigms of discursive and formal experimentation will be taken as a starting point. Therefore, this analysis will be carried out through pieces that move between video art and the cinematographic practice of authors such as Dara Birnbaum, María Cañas, the O.R.G.I.A. or Maya Deren. |
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