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El Cine Experimental De Mujeres ARBOR Ciencia, Pensamiento y Cultura Vol. 187 - 758 noviembre-diciembre [2012] 1117-1129 ISSN: 0210-1963 doi: 10.3989/arbor.2012.758n6010 EL CINE EXPERIMENTAL DE WOMEN’S EXPERIMENTAL MUJERES: ANTECEDENTES CINEMA: ANTECEDENTS Y DESARROLLO DEL CINE AND DEVELOPMENT OF TEÓRICO FEMINISTA DE LOS 70 FEMINIST FILM IN THE 1970S EN EL REINO UNIDO IN THE UK Carmen Pérez Ríu Universidad de Oviedo [email protected] RESUMEN: Este artículo analiza la obra experimental de mujeres A BSTRACT: This article analyses experimental films made by women centrándose principalmente en la que se produjo durante los años between 1920 and 1979, focusing particularly on films produced 70 en el Reino Unido y su vinculación con la teoría cinematográfica during the 1970s in the UK and their links to feminist film theory. The feminista. La primera parte hace un recorrido por la participación de first part deals with the participation of women in the experimental las mujeres en las diferentes corrientes y movimientos del cine expe- film movements from the 1920s to the 1970s. The aim of this section rimental desde la década de los 20 hasta los 70. Esta sección tiene is to provide a context for British experimental women directors como finalidad situar a las directoras experimentales británicas de during the 1970s within the more complex background of experimental los 70 dentro de un panorama global mucho más complejo inclu- film movements, with influences from the nerve centre of the Avant- yendo las influencias que recibían desde Europa y EE.UU., donde se Garde in Europe and the USA. The second part studies the development encontraba el centro neurálgico de las corrientes cinematográficas of experimental feminist film in the UK during the 1970s, with special de vanguardia. Una segunda parte estudia con más detenimiento el attention to two essential filmmakers, Laura Mulvey and Sally Potter. fenómeno del cine experimental feminista en Inglaterra durante la The article concludes with a discussion of some general characteristics década de los 70, con atención especial a las dos cineastas funda- of experimental films by women. mentales de este fenómeno: Laura Mulvey y Sally Potter. A modo de conclusión se incluyen unas características generales del cine KEYS WORD : Experimental film, feminism and film, theoretical film, experimental de mujeres. Laura Mulvey, Sally Potter, Avant-Garde cinema. PALABRAS CLAVE: Cine experimental, feminismo y cine, cine teó- rico, Laura Mulvey, Sally Potter, vanguardia cinematográfica. LOS ORÍGENES: DIRECTORAS EN LA VANGUARDIA mic cinéma (M. Duchamp, 1926).1 En EE.UU., e inspirado EXPERIMENTAL (1920-1970) por esta corriente europea, se desarrolló un movimiento autodefinido como amateur que recibió un fuerte impulso El cine experimental comienza con las incursiones en el con la aparición de la cámara de 16mm en 1924 (Horak medio cinematográfico de un número de artistas de van- en Dixon & Foster, 2002, 19-51).2 Este grupo incluía a guardias (Dada y Surrealistas), como extensión de las artes algunas mujeres como Mary Ellen Bute, que realizó cortos plásticas a comienzos de los años 20. Los artistas expe- de animación abstractos utilizando la sincronía con piezas rimentales de este período, hombres casi exclusivamente, musicales clásicas (por ejemplo Rhythm in Light, 1935 o exploraban todo tipo de soportes a los que trasladaban su Syncromy n.2, 1936); y también Stella Simon, cuyo filme interés por cultivar el lenguaje formal en lugar de elemen- Hands (1928) elabora un melodrama romántico utilizando tos figurativos o narrativos. Este énfasis anti-ilusionista, la danza de las manos como personajes. Más o menos proveniente de las artes plásticas, simultáneamente con- simultáneamente, la francesa Germaine Dulac también seguía un deseado distanciamiento del cine comercial para estaba dirigiendo películas innovadoras y personales con comenzar a utilizar el cine puramente como medio de las que desarrolló las capacidades expresivas del lenguaje expresión estética. Como botón de muestra puede citarse cinematográfico y los medios técnicos disponibles. Dulac La retour à la raison (Man Ray, 1923) o la abstracta Ane- realizó 26 películas entre 1916 y 1929, de las cuales solo doi: 10.3989/arbor.2012.758n6010 ARBOR Vol. 187 758 noviembre-diciembre [2012] 1117-1129 ISSN: 0210-1963 dos se conservan completas, La Souriante madame Beudet Durante la década de los 40, Maya Deren lideró un resurgi- (1922) y La coquille et le clergyman (1927), pero ambas han miento del cine experimental de naturaleza psicoanalítica, sido muy influyentes en círculos de vanguardia. La primera, que serviría como referente y modelo para un gran número Nº 758 sin llegar a ser un filme experimental, utilizaba técnicas de mujeres directoras que posteriormente recurrieron a EL CINE EXPERIMENTAL DE MUJERES: ANTECEDENTES Y DESARROLLO DEL CINE TEÓRICO FEMINISTA DE LOS 70 EN EL REINO UNIDO DE LOS DEL CINE TEÓRICO FEMINISTA ANTECEDENTES Y DESARROLLO DE MUJERES: EL CINE EXPERIMENTAL impresionistas para expresar la subjetividad del personaje los lenguajes experimentales. Deren había nacido en Kiev femenino central. “Dulac, como los demás impresionistas en 1917 pero su familia emigró a EE.UU. en 1922 y, tras (Delluc, Epstein, Gance), influidos por el arte postsimbo- estudiar periodismo y danza, y gracias al apoyo inicial de su lista, y por la narrativa de Proust y de Gide, cultivaban marido A. Hammid, accedió a la dirección cinematográfica un conjunto de recursos para representar los estados in- y desarrolló su trabajo principalmente desde Nueva York teriores de los personajes” (“Miradas”). Este filme es un (Heck-Rabi, 1984, 196). La obra más influyente de Deren, importante referente para el cine feminista por la forma Meshes of the Afternoon (codirigida con Hammid en 1943) en que representa la opresión de la protagonista dentro de se vincula también con el surrealismo, pero adoptando su matrimonio burgués y sus fantasías escapistas. una estética transgresora en la que la visión como mujer es fundamental.3 Maureen Turim interpreta la estructura La coquille et le clergyman (1927) es un texto plenamente fragmentada con elementos recurrentes de este filme y, experimental; se trata de un filme con guión del drama- en particular, sus imágenes violentas, como una forma de turgo Antonin Artaud y que algunos autores consideran representar lo que ella denomina “fantasy riddled with el primer filme surrealista (Heck-Rabi, 1984, 44). Los per- parapraxis” (Turim en Petrolle & Wright eds., 2005, 75). sonajes son un clérigo, un oficial del ejército y una mujer Siendo las parapraxis huellas de acciones fallidas en el in- y su fantasma. El filme incluye persecuciones por salones consciente, las constantes repeticiones, reelaboraciones e de baile, habitaciones vacías y largos pasillos, escenas imágenes simbólicas constituyen, para esta autora, reflejos alucinatorias de rostros deformados, una lengua que se de acciones que fallan a causa de un deseo o conflicto no alarga hasta el infinito, la concha del título es utilizada expresado (Turim en Petrolle & Wright eds., 2005, 75). Sin en la elaboración de brebajes, así como otras escenas de embargo, como apunta también Turim, Deren se resistió corte surrealista. Según han contado diversos comentaris- siempre a la interpretación psicoanalítica de sus filmes: tas, Dulac no permitió a Artaud participar en el rodaje ni en el montaje de La coquille e incluyó entre los créditos Deren’s violence and embrace of the unexpected in fantasy del filme un rótulo afirmando que se trataba de “un sueño are elements that link her work to surrealism, and like that de Antonin Artaud”. Esto provocó el enfado de Artaud, movement, she famously argues against psychoanalytic que protagonizó una sonora protesta durante el estreno decipherment. What seems to bother her is a one-to-one del filme. Según la analista Wendy Dozoretz, entre otras matching of interpretation with images that can account cosas, acusaba a Dulac de haber “feminizado” su texto neither for transformative energies nor structure. Instead, as (citado en Heck-Rabi, 1984, 47). Heck-Rabi sugiere que esa in surrealism, Deren creatively mobilizes elements of the “feminización” puede haber consistido en una suavización dream to unleash the power of the unconscious, illustrating de algunos de los elementos más radicales del guión. its violence through filmic cutting. (Turim en Petrolle & Wright eds., 2005, 76) Tras una fructífera producción cinematográfica, Dulac ve- ría progresivamente recortadas sus capacidades de acceder Tanto Dulac como Deren contribuyeron a la teorización de a los medios de producción, tanto más cuanto, después de la vanguardia cinematográfica con escritos sobre estética la irrupción del sonido, los costes se encarecieron. Esto, y significado del filme, abogando por su desarrollo como unido a sus propias reticencias a participar en el cine so- un lenguaje artístico puro. Dulac creó su propia revista, noro, puso fin a su carrera como cineasta; puesto que, en Schémas, cuyo único volumen, escrito y editado por ella palabras de Susan Hayward, “[s]he believed that too much misma, salió en 1927.4 Deren daba conferencias y escribía emphasis would be placed on the talking voice and not también en numerosas revistas, además de ser autora de enough on the orchestration of meaning through move- una publicación más extensa titulada An Anagram of Ideas ment and image –and eventually, that would marginalize on Art, Form and the Film (1946), donde, en palabras de her praxis” (citado en Mounsef, 2003, 41). Heck-Rabi “[she] projects two major premises: the rejec- 1118 ARBOR Vol. 187 758 noviembre-diciembre [2012] 1117-1129 ISSN: 0210-1963 doi: 10.3989/arbor.2012.758n6010 tion of symbolism in film and an analysis of independent cortos experimentales entre 1965 y 1979 (en su mayoría en and industrial film-making, with a strong option for the colaboración con Dorothy Wiley) y otros muchos después former” (Heck-Rabi, 1984, 212). en solitario ya de vuelta en su país natal, incluyendo obra reciente en vídeo. A Nelson se la tildó de cineasta “feme- Otro ejemplo de mujeres trabajando en la vanguardia ci- nina” o “feminista” en sus comienzos, cuando accedió a la C ARMEN nematográfica durante la década de los 40 es el de Sara K.
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