@misc{10481/29140,
year = {2013},
month = {11},
url = {http://hdl.handle.net/10481/29140},
abstract = {En esta tesis reviso películas de Alina Marazzi (1964, Italia) y Maricarmen de Lara
(1957, México) dentro del debate sobre el realismo cinematográfico y la experimentación
formal en el cine documental feminista. Mi hipótesis es que las intervenciones feministas
en No les pedimos un viaje a la luna (1986) y ¿Más vale maña que fuerza? (2007) de
Maricarmen de Lara, así como en Un’ora sola ti vorrei (2002) y Vogliamo anche le rose
(2007) de Alina Marazzi, se manifiestan en cuatro paradigmas (forma, contenido,
producción y recepción) a partir de la comprensión de la objetividad como conocimiento
situado que permite a las cineastas rendir cuentas sobre su tratamiento creativo de la
realidad y del planteamiento de un cine narrativo subversivo en el que las mujeres
filmadas son representadas y/o se autorepresentan dentro y fuera del género.
Con la elección de dos cineastas cuyos estilos son diferentes (documental realista
observacional-participativo de inclinación política por un lado, documental reflexivoperformativo
de inclinación experimental por el otro) busco poner en diálogo dos modos
de representación que parte de la teoría feminista del cine de los setenta consideró
opuestos. Adoptando la perspectiva de los conocimientos situados (Haraway) propongo
una salida al juicio dicotómico que tiende a contraponer y jerarquizar las diferencias.
Sustituyendo el desdoblamiento entre sujeto y objeto por el principio de que lo
personal/privado es político/público, analizo el trabajo de Maricarmen de Lara y Alina
Marazzi como inseparable de quiénes son/han sido ellas como sujetos generizados que, al
acercarse al feminismo, trabajan en espacios dentro y fuera del género donde se revisan
las contradicciones entre “la Mujer” y las mujeres (Lauretis). En su cine emplean
estrategias del documental clásico y/o narrativo pero con una subversión feminista:
desenmascarar las inequidades del androcentrismo y ser vehículo de voces disidentes,
cuerpos rebeldes y sujetos femeninos autoconscientes.
Abstract
This thesis analyzes films by Alina Marazzi (1964, Italy) and Maricarmen de Lara (1957,
Mexico) within the context of the debate on cinematic realism and formal
experimentation in feminist documentary films. The hypothesis is that feminist aspects in
No les pedimos un viaje a la luna (1986) and ¿Más vale maña que fuerza? (2007) by
Maricarmen de Lara, as well as in Un'ora sola ti vorrei (2002) and Vogliamo anche le
rose (2007) by Alina Marazzi, emerge at four paradigms (form, content, production and
reception), which are characterised by an understanding of objectivity as situated
knowledge that allows the filmmakers to be accountable for their creative treatments of
reality and the development of a subversive narrative cinema, in which the filmed women
are (auto)represented in-and-out of gender.
The selection of two filmmakers whose styles are different (observationalparticipatory
realistic documentary with a political inclination on the one hand, reflexiveperformative
documentary with an experimental inclination on the other hand), aims to
bring into dialogue two streams that most feminist film theorists in the Seventies
considered incompatible with each other. By adopting the perspective of situated
knowledges (Haraway), I propose an alternative to the dichotomous view that tends to
contrast and rank different approaches. Replacing the split between subject and object
with the principle that the personal/private is political/public, I analyze Maricarmen’s and
Alina’s films as inseparable from who they are/have been as gendered subjects that, on
approaching feminism, work in a space in-and-out of gender where the contradictions
between “the Woman” and women become evident. Their feminist cinema exploits the
strategies of classic and/or narrative documentary “with a vengeance” (Lauretis): it
exposes the inequities caused by androcentrism and becomes a vehicle for the expression},
abstract = {This thesis analyzes films by Alina Marazzi (1964, Italy) and Maricarmen de Lara (1957,
Mexico) within the context of the debate on cinematic realism and formal
experimentation in feminist documentary films. The hypothesis is that feminist aspects in
No les pedimos un viaje a la luna (1986) and ¿Más vale maña que fuerza? (2007) by
Maricarmen de Lara, as well as in Un'ora sola ti vorrei (2002) and Vogliamo anche le
rose (2007) by Alina Marazzi, emerge at four paradigms (form, content, production and
reception), which are characterised by an understanding of objectivity as situated
knowledge that allows the filmmakers to be accountable for their creative treatments of
reality and the development of a subversive narrative cinema, in which the filmed women
are (auto)represented in-and-out of gender.
The selection of two filmmakers whose styles are different (observationalparticipatory
realistic documentary with a political inclination on the one hand, reflexiveperformative
documentary with an experimental inclination on the other hand), aims to
bring into dialogue two streams that most feminist film theorists in the Seventies
considered incompatible with each other. By adopting the perspective of situated
knowledges (Haraway), I propose an alternative to the dichotomous view that tends to
contrast and rank different approaches. Replacing the split between subject and object
with the principle that the personal/private is political/public, I analyze Maricarmen’s and
Alina’s films as inseparable from who they are/have been as gendered subjects that, on
approaching feminism, work in a space in-and-out of gender where the contradictions
between “the Woman” and women become evident. Their feminist cinema exploits the
strategies of classic and/or narrative documentary “with a vengeance” (Lauretis): it
exposes the inequities caused by androcentrism and becomes a vehicle for the expression
of dissenting voices, rebellious bodies and self-conscious female subjects.},
abstract = {Questa tesi esamina i film di Alina Marazzi (1964, Italia) e Maricarmen de Lara (1957,
Messico) all’interno del dibattito sul realismo cinematografico e la sperimentazione
formale nel documentario femminista. L'ipotesi è che gli aspetti femministi sia in No les
pedimos un viaje a la luna (1986) e ¿Más vale maña que fuerza? (2007) di Maricarmen
de Lara, sia in Un’ora sola ti vorrei (2002) e Vogliamo anche le rose (2007) di Alina
Marazzi, emergano a quattro paradigmi (forma, contenuto, produzione e ricezione). Tali
paradigmi sono caratterizzati da una concezione dell’obiettività come “conoscenza
situata” che gli permette di essere responsabile per il proprio trattamento creativo della
realtà e dall’approccio di un film narrativo sovversivo, in cui le donne girate sono
(auto)rappresentate dentro e fuori dal genere.
La scelta di due registe con stili differenti (documentario realista osservazionalepartecipativo
d’inclinazione politica da un lato, documentario riflessivo-performativo
d’inclinazione sperimentale dall’altro), cerca di mettere in dialogo due correnti che parte
della teoria femminista del cinema negli anni Settanta ha considerato opposti. Adottando
la prospettiva della conoscenza situata (Haraway), propongo una soluzione alla dicotomia
che tende a contrapporre e gerarchizzare i diversi approcci. Inoltre, sostituendo la
scissione tra soggetto e oggetto con il principio che il personale/privato è
politico/pubblico, analizzo come il lavoro di Maricarmen de Lara e Alina Marazzi sia
inseparabile da chi sono/sono stati come soggetti di genere che, con il loro approccio al
femminismo, lavorano in uno spazio dentro e fuori dal genere, in cui le contraddizioni tra
“la Donna” e le donne emergono (Lauretis). Il loro cinema è capace di impiegare le
strategie stilistiche del documentario classico e/o narrativo, ma con una sovversione
femminista: esporre le disuguaglianze dell’androcentrismo ed essere un veicolo per voci
di dissenso, corpi ribelli e soggetti femminili consapevoli.},
organization = {Máster Erasmus Mundus en Estudios de las Mujeres y de Género, GEMMA},
keywords = {Marazzi, Alina},
keywords = {Lara Rangel, María del Carmen},
keywords = {Feminismo},
keywords = {Cine documental},
title = {Intervenciones feministas en el cine documental: conocimientos situados y (auto)representaciones de género en películas de Alina Marazzi y Maricarmen de Lara},
doi = {10.30827/Digibug.29140},
author = {Calderón Sandoval, Orianna},
}