Abstract
I point out the syntonies between the feminist theory of cinema and certain experimental cinema produced by women, whose practices defy the sexist and fetishist forms of hegemonic model. With this approach one may find Trinh T. Minh-ha’s cinema that exploits expressive strategies using sound as an essential resource of an experimental practice that allows the encounter between practice and theory. Keywords: cinema theory; artistic vanguard; experimental cinema; documentary.
Highlights
Résumé : Nous rappelons les liens de syntonie qui unissent la théorie féministe du cinéma et certains cinémas expérimentaux produits par les femmes, dont les pratiques défient les formes plus sexistes et fétichistes du modèle hégémonique
It was feminism that gave a new urgency to the politics of culture and focused attention on connections between oppression and command of language
Excluded from creative traditions, subjected to patriarchal ideology within literature, popular arts and visual representation, women had to formulate an opposition to cultural sexism and discover a means of expression that broke with an art that had depended, for its existence, on an exclusively masculine concept of creativity
Summary
Any revolutionary strategy must challenge the depiction of reality; it is not enough to discuss the oppression of women within the text of the film; the language of the cinema/the depiction of reality must be interrogated, so that a break between ideology and text is effected. Retornando a exemplos de cineastas que têm relação mais direta com as questões feministas no cenário norte-americano, podemos citar o caso de Su Friedrich, cujos filmes transitam entre estratégias do cinema narrativo, do documentário e do experimental, com trabalhos que refletem sobre sua vida pessoal e abordam temas relacionados ao universo feminino desde uma perspectiva homossexual, mantendo uma produção regular desde o final da década de 1970 até os dias atuais. Intitulado “Ideology and the practice of sound editing and mixing”, publicado em 1980, Mary Ann Doane trata das questões ideológicas do aparato cinematográfico relativas à edição e à mixagem do som no cinema de modo mais amplo e não apenas em relação ao uso da voz. Ela é a norma em relação à qual esses relacionamentos aderem ou se afastam. 12 (Silverman, 1984: 132)
Sign-in/Register to view highlights & summary Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callMore From: DOC online - Revista Digital de Cinema Documentário
Disclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
