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Introducción Al Documental Colección Introducción al documental COLECCIÓN MIRADAS EN LA OSCURIDAD CENTRO UNIVERSITARIO DE ESTUDIOS CINEMATOGRÁFICOS DIRECCIÓN GENERAL DE PUBLICACIONES Y FOMENTO EDITORIAL Bill Nichols Introducción al documental segunda edición UNIVERSIDAD NACIONAL AUTÓNOMA DE MÉXICO MÉXICO, 2013 © Introducción al documental segunda edición del autor © UNIVERSIDAD NACIONAL AUTÓNOMA DE MÉXICO versión en español para todo el mundo CENTRO UNIVERSITARIO DE ESTUDIOS CINEMATOGRÁFICOS Circuito Mario de la Cueva s/n, Ciudad Universitaria, Coyoacán, México, 04510, DF Primera edición en español, 2013 Fecha de edición: 30 de octubre, 2013 Introduction to Documentary, second edition, by Bill Nichols Copyright © 2010 by Indiana University Press, Spanish-language translation rights licensed from the English-language Publisher, Indiana University Press Nichols, Bill, autor [Introduction to documentary. Español] Introducción al documental / Bill Nichols; traducción Miguel Bustos García. – Primera edición 368 páginas ISBN: 978-607-02-4799-6 1. Películas documentales--Historia y crítica. I. de: Nichols, Bill. Introduction to documentary. II. Bustos García, Miguel, traductor. III. Título PN1995.9.D6.N49618 2013 Traducción: Miguel Bustos García, para la Universidad Nacional Autónoma de México ©, 2013 Edición y diseño de portada: Rodolfo Peláez Fotografía de portada: Maquilapolis (Vicki Funari y Sergio de la Torre, 2006) Cortesía de California Newsreel. D.R.© 2013, UNIVERSIDAD NACIONAL AUTÓNOMA DE MÉXICO, Ciudad Universitaria, Coyoacán, México, 04510, DF CENTRO UNIVERSITARIO DE ESTUDIOS CINEMATOGRÁFICOS DIRECCIÓN GENERAL DE PUBLICACIONES Y FOMENTO EDITORIAL COLECCIÓN MIRADAS EN LA OSCURIDAD ISBN de la colección: 978-607-02-4790-3 ISBN: 978-607-02-4799-6 Esta edición y sus características son propiedad de la Universidad Nacional Autónoma de México Prohibida la reproducción total o parcial por cualquier medio sin la autorización escrita del titular de los derechos patrimoniales Impreso y hecho en México Para Pascale Menconi: un espíritu tan amoroso y bello como el que uno podría esperar conocer Contenido Agradecimientos 11 Introducción 13 1. ¿Cómo podemos definir al cine documental? 21 2 ¿Por qué los problemas éticos son 63 centrales para el cine documental? 3. ¿Qué da a los documentales una voz propia? 89 4. ¿Qué hace que los documentales 117 sean atrayentes y persuasivos? 5. ¿Cómo se inició el cine documental? 145 6. ¿Cómo diferenciamos entre documentales? 167 Categorías, modelos, y los modos expositivo y poético del cine documental 7. ¿Cómo describir los modos observacional, 199 participativo, reflexivo y expresivo del cine documental? 8. ¿Cómo han enfrentado los documentales 241 los problemas sociales y políticos? 9.¿Cómo escribir de manera efectiva acerca del documental? 283 Notas sobre el material de consulta 303 Bibliografía en español 317 Lista de distribuidores 319 Índice filmográfico 339 Índice analítico 355 Agradecimientos MI MAYOR GRATITUD PARA LOS ALUMNOS que han estudiado cine documental conmigo a lo largo de los años. Su curiosidad y sus preguntas han dado motivo a este libro. Me siento también muy agradecido con quienes se han reunido en las conferencias Evidencia Visible, desde sus inicios en 1993 para intercambiar ideas y llevar a cabo debates acerca del cine do- cumental. Estas conferencias, iniciadas por Jane Gaines y Michael Renov, han resultado invaluables para la promoción de un avivado diálogo sobre el cine documental en los términos más ampliamente posibles. Sin la ayuda de los cineastas que tan generosamente proporcionaron fotos fijas de sus películas, este libro se habría empobrecido de manera extraordinaria. Les agradezco la buena disposición con que proporciona- ron excelentes ilustraciones, a menudo con poco tiempo de aviso. Michael Wilson inició, y Victoria Gamburg puso al día y complemen- tó, la investigación sobre la lista original de distribuidores. Su ayuda fue oportuna e indispensable para completar la de la primera edición. Tori Palmatier llevó a cabo una labor similar para la segunda edición. Su in- vestigación en los sitios web, la mayoría de los cuales no funcionaban todavía en el momento de la publicación de la primera edición, enriqueció extraordinariamente esta lista de recursos. David Gray se hizo cargo de la tarea de obtener las fotos fijas que yo necesitaba, y lo hizo de manera maravillosa. Me siento muy agradecido con Tori y David por su invaluable ayuda. Jane Behnken ha trabajado como mi editora en la Imprenta de la Universidad de Indiana en la preparación de la segunda edición. Su apoyo y entusiasmo respecto a una segunda edición resultaron indis- pensables. 11 Introducción ORGANIZADA EN CAPÍTULOS A PARTIR DE UNA SERIE DE PREGUNTAS, la segunda edición de Introducción al documental examina en detalle esta fascinante forma de hacer cine. Las preguntas implican problemas de definición, de ética, de contenido, de forma, de modos y de política. Como los do- cumentales abordan el mundo en que vivimos, más que un mundo ima- ginado por el cineasta, difieren de los diversos géneros de ficción (de ciencia-ficción, de horror, de aventuras, melodrama, etcétera) de mane- ra significativa. Están hechos a partir de supuestos diferentes en cuanto a su propósito; implican un tipo diferente de relación entre el cineasta y el sujeto, y generan diferentes tipos de expectativas entre el público. Como veremos, estas diferencias no garantizan ninguna separación absoluta entre el cine de ficción y el documental. Algunos documentales hacen un fuerte uso de prácticas como el guión, la puesta en escena, la recreación, los ensayos y la actuación que asociamos con la ficción. Algunos adoptan convenciones conocidas, como la del héroe individual que pasa por desafíos o lleva a cabo una búsqueda, creando así suspenso, intensidad emocional y soluciones culminantes. Cierta ficción hace gran uso de convenciones que típicamente asociamos con el cine no ficticio o documental, como el rodaje en locaciones, actores no profesionales, la cámara sostenida a mano, la improvisación, pietaje rescatado (pietaje no filmado por el cineasta), comentario en off e iluminación natural. La frontera entre los dos dominios es muy fluida, pero, en la mayoría de los casos, sigue siendo perceptible. Puesto que los conceptos acerca de lo que es privativo del documen- tal, y lo que no, cambian con el tiempo, ciertas películas pueden poner a debate los linderos entre lo que es ficción y lo que no. En cierto mo- mento Avaricia (1925) de Eric von Stroheim y La huelga (1925) de Serguiey Eisenstein, se elogiaron por el alto grado de realismo o verosimilitud que 13 Bill Nichols llevaron a sus historias. Poseían un atractivo documental. En otro mo- mento, Roma, ciudad abierta (1945) de Roberto Rossellini y Sombras (1960) de John Cassavetes, parecieron llevar la realidad vivida a la pantalla, de una manera anteriormente no experimentada. Aunque todas estas obras han sido normalmente tratadas como ficción, se podría argumentar a favor de sus dimensiones documentales y su capacidad para estimular a los creadores de cine documental, así como de ficción, a repensar sus supuestos. Programas televisivos realistas, como Cops, American Idol y Survivor, han incrementado el grado en que la televisión puede explotar de manera simultánea una sensación de autenticidad documental y de espectáculo melodramático. Y películas como Forrest Gump (1994), The Truman Show (1998), El proyecto de la bruja de Blair (1999) y Camino a Guantánamo (2006) construyen su narración alrededor de la premisa sub- yacente al documental: sentimos una cierta fascinación cuando somos testigos de las vidas de otras personas que parecen pertenecer al mismo mundo histórico que nosotros. En El proyecto de la bruja de Blair esta fascinación no sólo depende de las convenciones documentales, aunadas al denodado realismo de la tec- nología de las camcorder, para dar credibilidad histórica a una situación de ficción: la película también hace uso de los canales promocionales y publicitarios que rodean la película propiamente dicha y nos ayudan a prepararnos para ella. Entre éstos, un sitio web con los datos esenciales referentes a la bruja de Blair, testimonios de expertos y referencias a gente y sucesos “reales”, cuyo objetivo era promocionar la película no como si fuera de ficción, ni siquiera como si fuera simplemente un documental, sino como el pietaje en bruto de tres cineastas que trágicamente desapa- recieron. Si no otra cosa, El proyecto de la bruja de Blair debería hacernos re- cordar que nuestro propio concepto respecto a si una película es o no un documental, es muy proclive a ser sugestionado. (La reseña de Susan Stewart en TVGuide, 10-16 de julio de 1999, sobre el programa del Sci- Fi Channel, «Curse of the Blair Witch», lo trata como un mal intento, aunque auténtico, por documentar la historia de una bruja real, más que como un gancho promocional de esta astuta historia de ficción.) El cine, el video y ahora las imágenes digitalmente construidas pueden dar testi- monio, con extraordinaria fidelidad, de lo que tuvo lugar frente a la cá- mara. La pintura y el dibujo parecen una pálida imitación de la realidad, si se les compara con las nítidas y muy definidas representaciones que se pueden obtener en película, video o los monitores de las computadoras. 14 Introducción Esta fidelidad, empero, cumple con las necesidades del cine de ficción, así como facilita el trabajo de la imaginería médica por medio del uso de los rayos X, las imágenes por resonancia magnética o las tomografías computarizadas. La fidelidad de la imagen puede ser tan crucial para un close up de Tom Cruise o Catherine Deneuve, como para la radiografía de un pulmón, pero los usos de esa fidelidad son muy diferentes. Pode- mos saber que ambos dan evidencia del mundo que nos rodea, pero vemos a los primeros como un evidencia extraordinariamente filtrada a través de los ojos del cineasta, y a esta última como una transcripción casi directa e inalterada de ciertas propiedades específicas existentes en el mundo. Es a riesgo propio que creemos en lo que vemos. En tanto los medios digitales se hacen demasiado conspicuos, la fi- delidad yace tanto en la mente del espectador como en la relación entre la cámara y lo que pasa frente a ella.
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