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Cinema Comparat/Ive Cinema CINEMA COMPARAT/IVE CINEMA VOLUME IV · No.8 · 2016 Editors: Gonzalo de Lucas (Universitat Pompeu Fabra) and Albert Elduque (University of Reading). Associate Editors: Ana Aitana Fernández (Universitat Pompeu Fabra), Núria Bou (Universitat Pompeu Fabra), Xavier Pérez (Universitat Pompeu Fabra). Advisory Board: Dudley Andrew (Yale University, United States), Jordi Balló (Universitat Pompeu Fabra, Spain), Raymond Bellour (Université Sorbonne-Paris III, France), Francisco Javier Benavente (Universitat Pompeu Fabra), Nicole Brenez (Université Paris 1-Panthéon-Sorbonne, France), Maeve Connolly (Dun Laoghaire Institut of Art, Design and Technology, Irleland), Thomas Elsaesser (University of Amsterdam, Netherlands), Gino Frezza (Università de Salerno, Italy), Chris Fujiwara (Edinburgh International Film Festival, United Kingdom), Jane Gaines (Columbia University, United States), Haden Guest (Harvard University, United States), Tom Gunning (University of Chicago, United States), John MacKay (Yale University, United States), Adrian Martin (Monash University, Australia), Cezar Migliorin (Universidade Federal Fluminense, Brasil), Alejandro Montiel (Universitat de València), Meaghan Morris (University of Sidney, Australia and Lignan University, Hong Kong), Raffaelle Pinto (Universitat de Barcelona), Ivan Pintor (Universitat Pompeu Fabra), Àngel Quintana (Universitat de Girona, Spain), Joan Ramon Resina (Stanford University, United States), Eduardo A.Russo (Universidad Nacional de La Plata, Argentina), Glòria Salvadó (Universitat Pompeu Fabra), Yuri Tsivian (University of Chicago, United States), Vicente Sánchez Biosca (Universitat de València, Spain), Jenaro Talens (Université de Genève, Switzerland and Universitat de València, Spain), Michael Witt (Roehampton University, United Kingdom). Contributors: Florencia Aliberti, Cristina Álvarez, Núria Bou, Caterina Cuadros, Elinor Cleghorn, Amelie Hastie, Gala Hernández, Palma Lombardo, Adrian Martin, Imma Merino, Lourdes Monterrubio, María Soliña Barreiro, Alejandra Rosenberg. Translators: Albert Elduque, Anna Rosenberg, Ana Aitana Fernández, Gonzalo de Lucas, Carolina Sourdis, Chantal Poch. Original design and layout: Pau Masaló (original design), Raúl García Egüés (website layout), Marta Verheyen (PDF layout). Acknowledgements: Sofia Bull, Kate Saccone, María Ruido, Violeta Kovacsics, Alan Salvadó, Endika Rey, Stefan Solomon, Michael Bunn. Publisher: Colectivo de Investigación Estética de los Medios Audivisuales (CINEMA), Universitat Pompeu Fabra (UPF). This issue has been funded with the economic support of the Departamento de Comunicación (Universitat Pompeu Fabra). Place of publication: Universitat Pompeu Fabra. Departamento de Comunicación. Campus de la Comunicación – Poblenou. Roc Boronat, 138 08018, Barcelona (Spain). E-mail: [email protected] Website: www.upf.edu/comparativecinema Cinema Comparat/ive Cinema, Volume 4, No. 8, «Portrait as an actress, self-portrait as a filmmaker», Barcelona, 2016. Depósito Legal: B.29702-2012 ISSN: 2014-8933 Some rights are reserved. Pulished by Universitat Pompeu Fabra and the Observatory of European Contemporary Cinema under a Creative Commons License. (Reconocimiento – NoComercial – Compartirigual 3.0 Unported). Cover Photo: Maya Deren Presentación Cinema Comparat/ive Cinema is a biannual publication founded Cinema Comparat/ive Cinema is an open access scientific in 2012. It is edited by Colectivo de Investigación Estética de los journal recognized by international indexes such as DOAJ Medios Audiovisuales (CINEMA) at the Universitat Pompeu (Directory of Open Access Journals) and Latindex (Regional Fabra (UPF), and focuses on comparative cinema and the Information System for Online Scientific Journals of Latin reception and interpretation of film in different social and America, the Caribbean, Spain and Portugal). political contexts. Each issue investigates the conceptual and formal relationships between films, material processes and Finally, each issue of the journal is complemented by production and exhibition practices, the history of ideas and documentary materials and texts published online, which film criticism. facilitate and enrich the topics studied in each volume, thus establishing links between longer research projects and Cinema Comparat/ive Cinema addresses an original area monographic focuses throughout this process. of research, developing a series of methodologies for a comparative study of cinema. With this aim, it also explores the relationship between cinema and comparative literature as well as other contemporary arts such as painting, photography, music or dance, and audio-visual media. Cinema Comparat/ive Cinema is published in three languages: Catalan, Spanish and English. The journal is biannual and the numbers are published in summer and winter. The journal is peer-reviewed and uses internal and external evaluation committees. The journal will also accept visual essays on the topic raised in the issue, both as part of a written article or as an autonomous work. Table of contents EDITORIAL Portrait as an actress, self-portrait as a filmmaker by Gonzalo de Lucas ................................................................................................7 DOCUMENTS About the femenine by Maya Deren............................................................................................................................................................. 9 About Fuses by Carolee Schneemann ....................................................................................................................................................... 10 Conversation on Wanda by Barbara Loden by Marguerite Duras and Elia Kazan.............................................................................. 12 About Film-Diary by Anne-Charlotte Robertson ................................................................................................................................... 14 Nothing to say by Chantal Akerman ......................................................................................................................................................... 15 FILMS UNDER DISCUSSION. INTERVIEWS About the Women Film Pioneers Project by Alejandra Rosenberg ........................................................................................................ 17 Medeas. Interview with María Ruido by Palma Lombardo .................................................................................................................... 24 ARTICLES Lois Weber: the female thinking in movement by Núria Bou .................................................................................................................. 29 ‘One must at least begin with the body feeling’: Dance as filmmaking in Maya Deren’s choreocinema by Elinor Cleghorn ...................................................................................................................................................................................... 36 Nothing of the Sort: Barbara Loden’s Wanda by Cristina Álvarez López and Adrian Martin ............................................................ 43 The Trouble with Lupino by Amelie Hastie............................................................................................................................................... 50 Presence (appearance and disappearance) of two Belgian filmmakers by Imma Merino .................................................................... 57 Identity self-portraits of a filmic gaze. From absence to (multi)presence: Duras, Akerman, Varda by Lourdes Monterrubio Ibáñez ............................................................................................................................................................... 64 REVIEWS JACOBS, Jason y PEACOCK, Steven (eds.) Jorge Oter; Santos Zunzunegui (Eds.) José Julián Bakedano: Sin pausa / Jose Julian Bakedano: Etenik gabe by María Soliña Barreiro ..................................................................................................................................... 75 EDITORIAL · Cinema Comparat/ive Cinema · Vol. IV· No 8 · 2016 · 7 Portrait as an actress, self-portrait as a filmmaker Gonzalo de Lucas Many female filmmakers have filmed themselves in a way that This curiosity for answering –from or against the reverse shot– resembles the diary, the notebook or the self-portrait. At the by creating other images –seen from other places or with other same time, many female filmmakers began their careers working approaches– can be noticed in the ways of filming the use of as actresses. Considering such overlaps in film history, we time, the intimacy of its length and its experimentation, or the might now ask the question: in the work of female filmmakers, signs of time as engraved in bodies, in filmmakers that either is there anything that could be considered a reflection of, or have filmed themselves as figures, image or voice, or that have reaction to, the way they were observed and filmed by others, made self-portraits through portraying the other or the personal therefore turned into images, into the reverse shot? space: Lois Weber, Anne-Marie Miéville, Jocelyne Saab, Chantal Akerman, Kinuyô Tanaka, Marguerite Duras, Barbara Loden, In studying the performance of actresses, beyond critical or Anne Charlotte Robertson, Juliet Berto, Maya Deren, Shirley biographical texts, wouldn’t it be better to start with these Clarke, Jackie Raynal, Carolee Schneemann, Yvonne Rainer, images, to see how some actresses
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