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Diáspora en feminino e cinema
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Advisor(s)
Abstract(s)
: “Esquecerte de quen es para ser ti mesma-outra”, dinos a voz e o corpo en
exilio da actriz de orixe galega María Casares no filme de Alain Resnais Gernika, 1945.
Para non esquecer a barbarie, o bombardeo sobre poboación civil, a perda. Para sentir o
corpo algures, alén da perda, no lugar onde están os teus pés. Con esta idea paradoxal
canda o cinema que lle pon rostro a ese sinal tráxico do século: o movemento incesante
de masas humanas por fame, guerras, persecución, catástrofes... imos procurar un cinema
no que o territorio é, singularmente, o desexo do retorno; imos cara as definicións de cine
migrante, de cinema de e dende a diáspora e so as pegadas do feminino; imos cara a
actitude do e da cineasta como constitutiva das obras para, na fin, exemplificalo a traveso
dunha pequena viaxe no Cinema en Lingua Galega.
: ‘Forget who you are in order to be yourself/another’, says the voice and body in exile of the actor of Galician origin, Maria Casares, in Alain Resnais's 1945 film, Gernika. So as not to forget the barbarity, the bombing of the civil population, the losses. To feel your body in someplace, beyond the loss, in the place where your feet are. Using this paradoxical idea and accompanied by cinema – which puts a face to that tragic characteristic of the century: the never-ending movement of masses of people driven by hunger, wars, persecution, catastrophes, etc. – we are going to search for a cinema in which territory is, uniquely, the desire to return. We are moving towards a definition of migrant cinema, of cinema of, and from, the diaspora, and following in the footsteps of what is feminine; we are moving towards the attitude of the filmmaker as a requisite of filmmaking to, ultimately, epitomise said migrant cinema via a brief journey through Cinema in Galician Language.
: ‘Forget who you are in order to be yourself/another’, says the voice and body in exile of the actor of Galician origin, Maria Casares, in Alain Resnais's 1945 film, Gernika. So as not to forget the barbarity, the bombing of the civil population, the losses. To feel your body in someplace, beyond the loss, in the place where your feet are. Using this paradoxical idea and accompanied by cinema – which puts a face to that tragic characteristic of the century: the never-ending movement of masses of people driven by hunger, wars, persecution, catastrophes, etc. – we are going to search for a cinema in which territory is, uniquely, the desire to return. We are moving towards a definition of migrant cinema, of cinema of, and from, the diaspora, and following in the footsteps of what is feminine; we are moving towards the attitude of the filmmaker as a requisite of filmmaking to, ultimately, epitomise said migrant cinema via a brief journey through Cinema in Galician Language.
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Keywords
Diáspora Emigración Exilio Cinema en lingua galega Novo cinema galego Diaspora Emigration Exile Cinema in Galician language New Galician cinema . Faculdade de Artes e Humanidades
Citation
Publisher
Universidade da Madeira