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Cine Mudo Latinoamericano Cine mudo latinoamericano Inicios, nación, vanguardias y transición Coordinadores Aurelio de los Reyes García-Rojas David M.J. Wood INICIOS, NACIÓN, VANGUARDIAS Y TRANSICIÓN INICIOS, NACIÓN, VANGUARDIAS CINE MUDO LATINOAMERICANO UNIVERSIDAD NACIONAL AUTÓNOMA DE MÉXICO INSTITUTO DE INVESTIGACIONES ESTÉTICAS CINE MUDO LATINOAMERICANO: INICIOS, NACIÓN, VANGUARDIAS Y TRANSICIÓN INSTITUTO DE INVESTIGACIONES ESTÉTICAS Director Renato González Mello Secretaria Académica Geneviève Lucet Coordinador de Publicaciones Jaime Soler Frost CINE MUDO LATINOAMERICANO: INICIOS, NACIÓN, VANGUARDIAS Y TRANSICIÓN Coordinadores Aurelio de los Reyes y David M. J. Wood UNIVERSIDAD NACIONAL AUTÓNOMA DE MÉXICO INSTITUTO DE INVESTIGACIONES ESTÉTICAS México 2015 Catalogación en la fuente Dirección General de Bibliotecas, UNAM PN1995.75 .C55 2015 Cine mudo latinoamericano: inicios, nación, vanguardias y transición / Aurelio de los Reyes (Aurelio de los Reyes García-Rojas) y David M.J. Wood (coordinadores). Primera edición, México: unam, Instituto de Investigaciones Estéticas, 2015, 268 p., ils. ISBN 978-607-02-7463-3 1. Cine mudo — América Latina. I. Reyes, Aurelio de los, editor. II. Wood, David M.J., editor. Diseño de portada: Fabiola Wong Gutiérrez Ilustración de portada: Catedral Metropolitana, fragmento de filme no identificado, finales del siglo xix principios del xx. Foto: Filmoteca unam. Conaculta-inah-Méx. Reproducción autorizada por el Instituto Nacional de Antropología e Historia Primera edición: 6 de noviembre de 2015 D.R. © 2015 Universidad Nacional Autónoma de México Avenida Universidad 3000 Ciudad Universitaria, Coyoacán, 04510, México Instituto de Investigaciones Estéticas Tel: (55) 5622 7250 ext. 85026 [email protected] www.esteticas.unam.mx ISBN 978-607-02-7463-3 Esta obra está licenciada por el Instituto de Investigaciones Estéticas. Usted es libre de utilizarla con fines académicos, no lucrativos, ni comerciales. Al hacer uso de este ma- terial, usted se compromete en todo momento a respetar los derechos de autor y citar de manera correcta dando los créditos respectivos. Lo invitamos a leer el texto íntegro de la licencia http://www.ebooks.esteticas.unam.mx/derechos_autor Los escenarios de la ciencia en la Ciudad de México (1876-1910) 7 ÍNDICE Introducción 9 Aurelio de los Reyes y David M.J. Wood Memoria e historia del cine en América Latina 21 Paulo Antonio Paranaguá I. Inicios del cine y visualidad Picturing Mexico in Still and Moving Images, ca. 1870-1925: Strategies for Articulating Space, and Spectatorship in Early Mexican Film 35 John Fullerton Vistas del camino de La Oroya hacia la montaña de Chanchamayo 57 Violeta Núñez Gorritti II. Narraciones de nación Documentales de la revolución maderista 67 Ángel Miquel Revolución, compilación, conmemoración: Salvador Toscano y la construcción de caminos en el México posrevolucionario 87 David M.J. Wood El documental de la posrevolución. 1915-1942 109 Aurelio de los Reyes Filmando a los héroes nacionales: el homenaje a Antonio Maceo en La última jornada del Titán de Bronce (Max Tosquella, 1930) 133 Emmanuel Vincenot [7] 8 Cine mudo latinoamericano: inicios, nación, vanguardias y transición Nación y ficción:Mariano Moreno y la Revolución de Mayo en el contexto previo al Centenario de la Independencia 153 Lucio Mafud III. Literatura, modernidad y vanguardias Figuraciones del pasado, contradicciones del presente. En torno a El último malón (1918) de Alcides Greca 177 Miriam V. Gárate Modernidad, escritura nueva y cine mudo en el Perú 191 Maria Chiara D’Argenio La primera vanguardia del cine latinoamericano 209 Paul A. Schroeder Rodríguez IV. Hacia el cine sonoro La transición del “mudo” al “sonoro” en México y el caso de Zítari (Miguel Contreras Torres, 1931) 235 Eduardo de la Vega Alfaro Cine mudo y cine silenciado: la obra de Velasco Maidana y de otros cineastas 251 Alfonso Gumucio Dagron Datos biográficos 265 INTRODUCCIÓN Aurelio de los Reyes y David M.J. Wood En abril de 2010 se celebró el primer coloquio internacional sobre cine del Instituto de Investigaciones Estéticas de la unam con el nombre Cine Mudo en Iberoamérica: Naciones, Narraciones, Centenarios. Decidimos reunir a un grupo de estudiosos de las primeras décadas del cine, ubica- dos en diversas latitudes del mundo y que trabajan desde distintos campos de estudio, para empezar a perfilar el estado actual de las investigaciones sobre una época del cine frecuentemente olvidada en esta región. Por razones puramente organizativas, “Iberoamérica” se convirtió, en la práctica, en “América Latina”, y aunque no tuvimos el propósito de catalogar todos los países de la región, tratamos de presentar una mues- tra de la diversidad geográfica, además de temática y disciplinaria, en los estudios del cine de los primeros tiempos. El presente libro contiene la mayoría de las ponencias presentadas en el coloquio –­­aunque no todas– e invitamos a dos autores ausentes del evento, John Fullerton y Lucio Ma- fud, a participar en esta publicación. Uno de los grandes desafíos de estudiar el cine del periodo silente, en América Latina todavía más que en Europa o en los Estados Unidos, es la poca supervivencia de los filmes rodados en la región entre finales del siglo xix y los años treinta del siglo xx, y la mala condición física y dificultad de acceso y consulta de mucho de lo que todavía existe. Según una encuesta encabezada por Maria Rita Galvão en 2005, apenas 15% del cine filmado en Iberoamérica aún sobrevivía; aunque esta cifra represen- taba una mejora considerable respecto a su encuesta anterior de 1988, cuando los archivos fílmicos conservaban tan sólo 7% de la producción total.1 Si el material que ha llegado a nuestros días se conoce escasamente en sus países de producción, menos posibilidades todavía han tenido los especialistas o los públicos dentro o fuera de América Latina de conocer los filmes realizados en otros países del continente –aunque, como señala 1 Maria Rita Galvão, “La situación del patrimonio fílmico en Iberoamérica”, Journal of Film Preservation, Bruselas, núm. 71, 2006, pp. 42-62. [9] 10 Aurelio de los Reyes y David M. J. Wood Paulo Antonio Paranaguá en el ensayo que abre el presente volumen, las tecnologías digitales están empezando, poco a poco, a mejorar esta situación. A falta de un sólido interés en el tema de parte de las pocas editoria- les que tienen una red de distribución eficaz en la región, la misma falta de circulación aflige a los estudios académicos sobre el cine mudo latino- americano, que algo se conocen entre los especialistas de sus respectivos países pero que, con muy contadas excepciones, prácticamente no se leen en el exterior.2 Nuestro interés por juntar investigadores que trabajan el tema, provenientes tanto de dentro como de fuera de América Latina, respondía, pues, a un deseo de tender puentes entre las diversas y a veces dispersas investigaciones existentes y en proceso. Sin ser exhaustivo ni en lo geográfico, lo temático o lo metodológico, creemos que este proyecto ha logrado hallar puntos de encuentro que pueden dar algunas pautas para investigaciones futuras. Uno de los resultados más importantes del coloquio fue la realiza- ción del segundo coloquio internacional sobre cine en junio de 2011, or- ganizado por los suscritos y Violeta Núñez, titulado Las Rutas del Cine en América, 1895-1910. Dicha reunión cubrió un tema poco discutido en el primero, el de la exhibición itinerante en los primeros años del cine, y abarcó países ausentes en el encuentro inicial, entre ellos Colombia, Vene- zuela, Panamá y Guatemala. La alusión al marco nacional en el título del proyecto del cual surge el presente libro, responde al contexto dominante en el cual el cine fue exhibido, distribuido y producido en América Latina desde finales del si- glo xix hasta los años treinta, y en el cual dicho cine posteriormente ha sido preservado, difundido y estudiado. Este enfoque, sin embargo, no pretendía excluir las investigaciones que se salen de tal marco. El tema suscitó polémica durante el coloquio entre investigadores tales como Au- relio de los Reyes y Alfonso Gumucio-Dagron, quienes defendieron la con- tinuada vigencia de lo nacional como ubicación que delimita el objeto de estudio, y aquellos, particularmente Paulo Antonio Paranaguá (cuya presencia física fue lamentablemente impedida por la erupción del volcán Eyjafjallajökull unos pocos días antes del encuentro), quienes promovían una transición hacia un enfoque transnacional. 2 Desde que se llevó a cabo el coloquio en 2010, los estudios de cine silente en la región se han acelerado, por ejemplo con la publicación en octubre de 2013 del dossier titulado “Cine silente latinoamericano” en la revista Imagofobia, núm. 8, coordinado por Andrea Cuarterolo, y el próximo lanzamiento del primer número de la revista en línea, dictaminada, Vivomatografías. Revista de Estudios sobre Precine y Cine Silente en Lationamérica, dirigida por Andrea Cuarterolo y Georgina Torello. Nos entusiasama este reciente crecimiento del campo. Introducción 11 La gran mayoría de la historiografía del cine latinoamericano de los primeros tiempos, efectivamente, se ha realizado desde una perspectiva nacional. Entre los estudios enfocados (casi) exclusivamente sobre el pe- riodo mudo de determinados países, se cuentan, por ejemplo (en orden cronológico), el trabajo pionero del mexicano José María Sánchez García3 y, en décadas posteriores, los libros de Aurelio de los Reyes sobre diversos aspectos del cine del periodo en cuestión en México,4 de Jurandyr Noron- ha sobre Brasil,5 de Pedro Susz sobre Bolivia,6 de Raúl Rodríguez sobre Cuba,7 de Wilma Granda Noboa sobre Ecuador8 y de Guillermo Caneto et al. sobre Argentina.9 De las historias nacionales del cine en general, al- gunas tratan las primeras décadas como un mero preludio a la historia “real” que llega con el sonido sincrónico (en la Historia del cine argentino de Domingo di Núbila, por ejemplo, el periodo silente se denomina “Pre- historia”, mientras que el cine sonoro, tratado con mucho mayor detalle, se denomina “Historia”).10 En cambio, en obras tales como la de Martínez Pardo sobre Colombia, la de Salles Gomes sobre Brasil, la de Gumucio Dagron sobre Bolivia, la de Mora sobre México o la de Acosta et al.
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