Abstract
La fórmula secreta (1965) is a film with an approximate duration of 45 minutes, directed by Rubén Gámez, winner of the First Experimental Film Contest organized the same year in Mexico City. After making the film, Rubén Gámez asked the writer Juan Rulfo to intervene with a text of his own. The voice of Jaime Sabines was what gave life to the poem within the film. This intervention aims to generate a visual analysis of the 10 seconds contained in the first stanzas of the poem. The objective is to reflect on the symbolic power of the word, visuality and silence from the philosophical approaches of Gilles Deleuze around the cinema influenced by the narrative of Juan Rulfo and its current reception. These seconds to analyze have the subversive ability to encode new visuals in relation to the landscape, to an ontological enunciation of the peasant, to a different use of sound and silence within the film. The collective work between Gámez and Rulfo deserves to be investigated to offer new theoretical approaches related to the literary field, as well as to those images that characterize Mexican cinematography belonging to the second half of the twentieth century, which are mostly currently unknown.
Highlights
winner of the First Experimental Film Contest organized the same year in Mexico City
Rubén Gámez asked the writer Juan Rulfo to intervene with a text of his own. The voice
This intervention aims to generate a visual analysis of the 10 seconds contained in the first stanzas
Summary
Para comprender lo que implicó el nuevo giro dentro de los procesos artísticos de los años sesenta en México, en especial para aquello relacionado al cine mexicano, su apreciación, producción y difusión, es vital resaltar la valiosa participación de la revista Nuevo Cine, la cual se originó entre abril de 1961 y agosto de 1962. De esta forma, la industria masificada del cine mexicano tenía asegurada su producción y difusión, aspecto que deseaban eliminar y exhibir a modo de crítica artística los colaboradores de la revista Nuevo Cine, reiterando su apoyo a las nuevas creaciones cinematográficas. Cabe mencionar que el influjo de esta nueva preocupación dentro de la atmósfera artística cinematográfica continuó viéndose reflejada al originarse en 1965 el Primer Concurso de Cine Experimental por parte del STPC, los novedosos filmes que se originaron para dicho concurso poseían visiones frescas, críticas y provocativas. Esta colaboración exhibe de una forma más crítica al campesino y al paisaje a partir de su constante conveniencia dentro de la imagen cinematográfica, a la cual se le suma el poderoso mensaje que contiene la narración del poema. Denuncia una pobreza que está directamente vinculada con la muere, esa muerte tan reiterativa en la literatura de Rulfo
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