DOCSLIB.ORG

Revista-Escaleta-N01.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Revista-Escaleta-N01.Pdf Sumário Quem somos..............................................................................................................................p. 03 Editorial......................................................................................................................................p. 04 O antagonista de mil faces: Zuko na Jornada do Monomito. Ana Vitória Sinhorelli Lima.........................................................................................p. 05 Não sou obrigado a ser cult: autoria e arte no cinema de Steven Spielberg. Andi Correa....................................................................................................................p. 24 A inteligência artificial e o retrato do corpo feminino na ficção científica. Bel Klar A. e Faustino...................................................................................................p. 45 O nascimento de um capitão: reflexões sobre o papel da série Tropa de Elite na construção de uma memória positiva sobre a violência de Estado. Beatriz Bayer Mendonça Gheventer........................................................................p. 63 O que há de brasileiro nos nossos desenhos? Um estudo sobre representatividade cultural na TV Paga a partir de Irmão do Jorel. Débora Martins Fiuza Alves.......................................................................................p. 83 Do palco à tela: uma análise sobre as adaptações teatrais para o cinema e sobre a obra de Tennessee Williams. Gabriel Ribeiro Mattos de Oliveira.........................................................................p. 104 O uso das imagens para contar histórias: o exemplo do diretor de arte K. K. Barrett. Gabriela Gonçalves Moreira....................................................................................p. 126 O presente disfarçado num universo futurista: a forma como a ficção científica representa a nossa realidade. Giulia ael de Medeiros.........................................................................................p. 145 Skam: um olhar sobre o audiovisual para adolescentes. sabella Braa de Lua Reis.....................................................................................p. 164 ealit bi: a representação de pessoas bissexuais em realit shos. ury Santos da Costa.................................................................................................p. 184 epresentatividade de pessoas com deficiência em narrativas Monster in the ouse de Save the at. lia Bloomield Coelho............................................................................................p. 207 Afetados: o impacto da representatividade BTQI no pblico adolescente de séries de TV. Luana Morado Ramos Aonso..............................................................................p. 226 Santiago de las Amércias: a linguagem política do documentarista cubano durante a uerra do Vietnã. Marina Ferreira Rodriues........................................................................................p. 245 Imagens resistentes e memórias subterrneas: o resgate do amor lésbico em Nitrate Kisses de Barbara ammer. Mihele ay.............................................................................................................p. 260 inemas de Petrópolis no século pelas memórias de Joaquim Elo dos Santos. atlia Stadler Luiz...................................................................................................p. 274 ood Jidlo: Jan Svankmaer política e surrealismo. Roberta Amaro Dias.................................................................................................p. 21 A coprodução internacional para obras audiovisuais seriadas e suas implicações econmicas e culturais. hayn de Oliveira vo..............................................................................................p. 315 Revista Escaleta, Rio de Janeiro, RJ, v. 1, nº 1, fev/jul 2020. Quem somos A revista Escaleta é o veículo de divulgação dos artigos científicos apresentados como um dos pré-requisitos para a conclusão do curso de graduação em Cinema e Audiovisual da ESPM Rio. Publica textos de jovens cineastas em suas primeiras incursões no mundo da pesquisa. Essa é nossa contribuição para dar visibilidade aos trabalhos de estudantes e ainda facilitar o acesso a novos olhares sobre os fenômenos relacionados ao audiovisual. O Rio de Janeiro é a primeira unidade da ESPM a lançar um curso de graduação em Cinema e Audiovisual. Criado em 2015, o curso conquistou nota máxima em sua primeira avaliação feita pelo Ministério da Educação (MEC), em 2019. Expediente Capa: arte de Gabriel Sayão e Andreson Carvalho sobre fotografia still do filme Carne de Carnaval (Rodrigo Tancredi, 2018), vencedor na categoria ESPM do I Festival Beta – Prêmio ESPM de Audiovisual Universitário Edição: Mônica Mourão Corpo editorial: Andreson Carvalho, Gabriel F. Marinho, Hadija Chalupe, Mônica Mourão, Pedro Curi e Simplício Neto Revista Escaleta, Rio de Janeiro, RJ, v. 1, nº 1, fev/jul 2020. Editorial O trabalho de revisão e edição dos primeiros artigos acadêmicos das duas turmas de Cinema e Audiovisual da ESPM Rio que se graduaram no ano de 2019 é uma visita aos primeiros quatro anos de curso e nos lembra quem são os profissionais que ajudamos a formar. Seus objetos de estudo e o empenho em tratar de forma científica temas pelos quais, muitas vezes, nutrem grande paixão nos fazem acreditar na construção coletiva de conhecimento, comprometida com a realidade em que nos inserimos atualmente. A seleção mostra as principais preocupações desta primeira geração de cineastas formados pela ESPM Rio: a representação e representatividade da diversidade de grupos e pessoas no audiovisual, as fragilidades e potencialidades do mercado audiovisual brasileiro, o impacto das narrativas audiovisuais na sociedade e a linguagem cinematográfica em sua relação com outras artes. Ao todo, são dezessete textos, escolhidos entre os melhores das duas primeiras turmas do curso. Num momento em que o cinema, o audiovisual, a arte e a educação têm sido tão atacados, assim como a própria ciência, publicar jovens cineastas e suas primeiras pesquisas é mais do que mero compromisso acadêmico ou profissional. É nossa pequena contribuição contra o descaso sofrido por estas áreas e a reafirmação de um esforço por pluralidade na produção de um conhecimento calcado na ética e nas relações solidárias no processo de ensino-aprendizagem. Desejamos uma boa leitura! Mônica Mourão (editora da revista Escaleta) e Pedro Curi (coordenador do curso de Cinema e Audiovisual da ESPM Rio) Revista Escaleta, Rio de Janeiro, RJ, v. 1, nº 1, fev/jul 2020. O ANTAGONISTA DE MIL FACES: Zuko na Jornada do Monomito Ana Vitória Sinhorelli Lima1 [email protected] Resumo Em 2003, o canal de TV fechada Nickelodeon criou o que viria a se tornar uma de suas animações mais consagradas, vencedora do Emmy de Outstanding Individual Achievement in Animation, em 2007. Avatar: The Last Airbender, de Michael Dante DiMartino e Bryan Konietzko, foi ao ar pela primeira vez no dia 21 de fevereiro de 2005, levando ao público um dos personagens mais discutidos até hoje: Príncipe Zuko. Apresentado como antagonista, o mesmo passa, inegavelmente pela Jornada do Herói, de Joseph Campbell, que apresentou o conceito pela primeira vez em seu livro, The Hero of a Thousand Faces, em 1949. O monomito, como também é chamado, em sua complexidade, passa pela descoberta do eu. A destruição do mundo que se conhece e em que se vive, a destruição do próprio indivíduo, a jornada por uma vida mais ampla, segura e inteiramente humana. Ao longo da história, heróis foram colocados na jornada, antes mesmo de Campbell desenvolver sua tese. Essa pesquisa trata de uma análise empírica de uma obra já concluída e ainda não estudada através de tal vertente, buscando compreender um personagem que passa pela jornada, mesmo não sendo considerado um herói e, dessa forma, contribuir para os estudos de narrativa. Palavras-chave: Avatar, Joseph Campbell, Jornada do Herói, monomito. Abstract In 2003, the TV channel Nickelodeon created what would turn out to be one of its most acclaimed animations ever aired, winner of a Primetime Emmy Award for Outstanding Individual Achievement in Animation. Avatar: The Last Airbender, by Michael Dante DiMartino and Bryan Konietzko, aired for the first time at the 21 of February, 2005, gracing the audience with one of the most discussed characters to this day: Prince Zuko. Introduced as an antagonist, he goes, undeniably, through the monomyth and this research focuses on an empirical analysis of a finished and versatile animation series, while studying Campbell’s remarkable piece of work, in a search for understanding a character that goes through the journey, even if not considered a hero. Keywords: Avatar, Joseph Campbell, Hero’s Journey, monomyth. 1 Trabalho orientador por: Simplicio Neto ([email protected]) Revista Escaleta, Rio de Janeiro, RJ, v. 1, nº 1, pp. 5-23, fev/jul 2020. 1.Introdução Sharing tea with a fascinating stranger is one of life’s true delights (Tio Iroh, Avatar The Last Airbender, episódio 08, livro 02: Bitter Work). O termo “monomito” aparece pela primeira vez através da obra de Joseph Campbell, A Hero With a Thousand Faces, que discute sua teoria do que consiste a jornada do arquétipo herói, através de desafios e uma busca pelo descobrimento do eu. Este artigo, contudo, não se trata de uma revisão teórica do que Campbell batizou de A Jornada do Herói e, sim, de uma análise empírica de uma obra narrativa específica e completa, focando na
Load more

Recommended publications
  • Eat Like a Republican and You Won't Get AIDS
    TRANSMISSIONS: THE JOURNAL OF FILM AND MEDIA STUDIES 2017, VOL.2, NO. 1, PP. 150-160. Andrzej Pitrus Jagiellonian University Eat like a Republican and you won’t get AIDS - a conversation with Barbara Hammer Andrzej Pitrus: In 2009 I had the honor to speak to Jonas Mekas. Many people consider him the father of American avant-garde. Do you agree? Barbara Hammer: I don’t agree. Should I tell you why? Yes, sure. I think Jonas Mekas did a lot to contribute to avant-garde film in the United States and internationally, but in terms of American avant-garde, I think we have to look to Maya Deren, and even before – to James Sibley Watson, his Fall of the House of Usher in 1928. His Lot in Sodom was shown,—I was shocked to read this—in Times Square in 1933 without any censorship at all. Before Mekas there were many American experimental filmmakers, but he was a person promoted their works. Of course I asked Jonas: “Do you feel more Lithuanian or American?” He answered “No, I’m not American, I’m from New York. When I go outside the city, I’m a foreigner again.” I also asked him for his definition of experimental film and he said: “There’s no such thing! Scientists make experiments, I don’t really believe that there’s something like experimental film”. It was a difficult conversation in a way. I wonder if you agree with him? I definitely think there’s something like experimental film. In Sanctus (1990), which is composed of moving x-rays of a human body that Dr.
    [Show full text]
  • Review of Bessette, Jean. Retroactivism in the Lesbian Archives: Composing Past and Futures. Southern Illinois UP, 2017. 202 Pages
    Review of Bessette, Jean. Retroactivism in the Lesbian Archives: Composing Past and Futures. Southern Illinois UP, 2017. 202 pages. Alexis Ramsey-Tobienne Arguing for the rhetoricity of the archives and culling from a variety of primary sources, particularly those crafted and curated by and for lesbians, Jean Besette’s Retroactivism in the Lesbian Archive: Composing Past and Futures, traces the process of historicizing lesbian identity. She calls such a process retroactivism, defined as the displacement of singular, often exclusionary, histories with newer versions in an attempt to effect change in the present. Retroactivism enables the writing of new, more inclusive, more queered histo- ries, which in turn foster in the present a collective identity of and for lesbians. In effect, we broaden history in order to re-articulate the present. Further, she argues that histories of lesbianism have been composed “not merely to col- lect and record the figures, acts, and accomplishments of women with same- sex desire, but also to forge a sense of shared identity across time and differ- ence….these historiographic acts actually helped mobilize lesbian identity” (7, emphasis in original). The archives are built both to preserve the past, but also to help understand and delineate a sense of what it meant and what it means to be lesbian. Throughout the book, in emphasizing the constructed nature of the archives, she reminds her readers that archives are not infallible and that the process of retroactivism can and perhaps should be applied toward other mis- or underrepresented groups. As Bessette lays out in the introduction, her project of recovery and re-reading of lesbian archives brings together feminist, queer, and rhetorical historiographical methodologies.
    [Show full text]
  • From Hyrstorians to Bolex Dudes:​ the Many Descendants of Barbara Hammer
    From Hyrstorians to Bolex Dudes​: The Many Descendants of Barbara Hammer Last autumn, ​NYFF55 kicked off​ a citywide retrospective of works by the prolific experimental filmmaker Barbara Hammer. Well-attended screenings followed at the Museum of the Moving Image, the Whitney Museum, and Anthology Film Archives—for good reason: a handful of Hammer’s films, thanks to a National Film Preservation Grant and archivist Carmel Curtis, are newly restored. 50 years and over 100 films later, there’s never been a better time to know Barbara Hammer—as much as one can, anyway. As she inquired during the Q&A following NYFF’s ​Barbara Hammer Program​, “Do we ever know anyone? I don’t think we do. I think we die alone and we are born alone and I do my damndest to show who I am by making films.” Instead of focusing on Hammer’s own movies, many of which are rubbing up against audiences for the first time in decades, IFC Center, in partnership with Queer | Art | Film, enriched the retrospective by ​screening seven early feminist experimental films​ that motivated Hammer (once an aspiring painter) to grab life by the Bolex. The mildly devoted Hammer viewer can reiterate the origin story. ​Dyketactics​’ twirling intimacy and idealism echo Carolee Schneeman’s Fuses​ (1965); ​History Lessons​’ feminist snicker, Martha Rossler’s ​Semiotics of the Kitchen​ (1975); and Place Mattes​’ erotic fixation on the hands, Yvonne Ranier’s ​Hand Movie​ (1966). Who influenced Barbara Hammer’s work? It is IFC Center’s thorough answer to this question which compels me to ask another one: Who is influenced​ by ​Barbara Hammer’s work? In ​The Argonauts​, the poet Maggie Nelson’s memoir on her relationship with the video artist and director Harry Dodge (​By Hook or by Crook​), she observes, “A lot of lesbian sex writing from the 70s was about being turned on, and even politically transformed, by an encounter with sameness.
    [Show full text]
  • 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
    [Show full text]
  • Barbara Hammer, Legendary Lesbian Filmmaker, Dies | Philadelphia Gay
    Barbara Hammer, legendary lesbian lmmaker, dies By Victoria Brownworth - March 20, 2019 10:34 pm Some people are so huge in life they deserve all the adjectives in death. Legendary lesbian filmmaker Barbara Hammer was one of those people. Hammer died on March 16 in New York City after a long battle with ovarian cancer. She had been in hospice care. On Twitter Sunday morning I wrote, “My longtime friend Barbara Hammer has died. She was an extraordinary talent, a brilliant filmmaker, a gutsy, fabulous, radical af, deeply engaged lesbian feminist and I loved her madly for her brave unconquerable self and her larger than life humanity, which impelled all her work. “I met Barbara thirty years ago through another friend, the late photographer, Tee Corinne. Both of these iconoclastic lesbian artists taught us that there was a gaze that not only was not male, but also was not straight. They showed us the lesbian feminist lens. What vision they had. “I cannot express strongly enough how much more I was taught to see by Barbara Hammer. The risks she took illumined a world previously unseen. Barbara was a lover, a teacher, an artist and a radical political voice.” I shared a series of photographs of Barbara who was a wiry, cool, butch hipster to the last. One of those photos is of her standing in front of the historic Stonewall Inn, giving two thumbs up, smiling with a rainbow flag in her teeth instead of a rose. That photo is vintage Barbara Hammer, the things I wrote about her expressive of the impact she had on all around her.
    [Show full text]
  • Women's Experimental Cinema
    FILM STUDIES/WOMEN’S STUDIES BLAETZ, Women’s Experimental Cinema provides lively introductions to the work of fifteen avant- ROBIN BLAETZ, garde women filmmakers, some of whom worked as early as the 1950s and many of whom editor editor are still working today. In each essay in this collection, a leading film scholar considers a single filmmaker, supplying biographical information, analyzing various influences on her Experimental Cinema Women’s work, examining the development of her corpus, and interpreting a significant number of individual films. The essays rescue the work of critically neglected but influential women filmmakers for teaching, further study, and, hopefully, restoration and preservation. Just as importantly, they enrich the understanding of feminism in cinema and expand the ter- rain of film history, particularly the history of the American avant-garde. The essays highlight the diversity in these filmmakers’ forms and methods, covering topics such as how Marie Menken used film as a way to rethink the transition from ab- stract expressionism to Pop Art in the 1950s and 1960s, how Barbara Rubin both objecti- fied the body and investigated the filmic apparatus that enabled that objectification in her film Christmas on Earth (1963), and how Cheryl Dunye uses film to explore her own identity as a black lesbian artist. At the same time, the essays reveal commonalities, in- cluding a tendency toward documentary rather than fiction and a commitment to nonhi- erarchical, collaborative production practices. The volume’s final essay focuses explicitly on teaching women’s experimental films, addressing logistical concerns (how to acquire the films and secure proper viewing spaces) and extending the range of the book by sug- gesting alternative films for classroom use.
    [Show full text]
  • Barbara Hammer: Experimenting in Life and Art
    FILM AT REDCAT PRESENTS Mon Jan 24 | 8:30 pm Jack H. Skirball Series $9 [students $7, CalArts $5] Barbara Hammer: Experimenting in Life and Art West Coast premiere and Los Angeles premiere Barbara Hammer has made over 80 films in a career that spans 40 years, and is widely celebrated throughout the world as a pioneer of queer cinema. This screening presents the West Coast premiere of Generations (2010) made with Gina Carducci, a film about the ongoing tradition of personal filmmaking, the last days of Coney Island’s legendary Astroland, and the aging of the film medium itself; and the Los Angeles premiere of A Horse Is Not A Metaphor (2009) with music by Meredith Monk, a richly textured filmic tapestry that reflects upon Hammer’s bout with cancer, her return to her experimental filmmaking roots, and her drive to change illness into recovery through travels and pilgrimages in New Mexico, Wyoming and Woodstock. Hammer’s book, HAMMER! Making Movies Out of Sex and Life was published last spring, and she was recently given a career retrospective at the Museum of Modern Art. In person: Barbara Hammer “Generations invites us to pause and actually feel the meaning of our relationships and legacies.” – Sloan Lesbowitz, MIX Festival, NYC “Hammer’s intense productivity places her on the scale of Brakhage or Warhol as a major force in the independent cinema; Hammer neatly inverts the patriarchal forces implicitly and often ‘invisibly’ at work in independent cinema practice.” – Wheeler Winston Dixon, The Exploding Eye, A Re- Visionary History of 1960s American Experimental Cinema www.redcat.org | 1 Generations 2010, 30 minutes, 16 mm film, color/sound, made with Gina Carducci.
    [Show full text]
  • The Risky Visions of BARBARA HAMMER American Experimental Filmaker 12/06 – 01/07/2012 / Cinema
    THe risky visions of Press kit BArBArA HAMMER american experimental filmaker 12/06 – 01/07/2012 / CINema de Barbara Hammer, 1995 de Barbara Hammer, Tender Fictions, Tender 1, PLACe De LA CONCOrDe · PARIS 8e · M° CONCO rDe WWW.JeUDePAUMe.OrG ❙ curators Barbara Hammer and Danièle Hibon ❙ partners produced with the assistance of simone de Beauvoir audiovisual center. Jeu de paume receives a subsidy from the ministry of Culture and Communication. it gratefully acknowledges support from Neuflize Vie, its global partner. ❙ MEDIA PARTNERS OUÏ FM, tÊTU. ❙ information rate: 3 euros / free with entry ticket to the exhibitions and for subscribers. 01 47 03 13 31 / [email protected] ❙ contacts Press relations: Carole Brianchon +33 (0)1 47 03 13 22 / [email protected] Communication: Anne Racine +33 (0)1 47 03 13 29 / [email protected] BarBara hammer Cinéma THe risky visions of BArBArA HAMMER american experimental filmaker 12/06 – 01/07/2012 / CINema since the early 1970s, Barbara Hammer has claimed the double identity of feminist and lesbian activist. Pioneer of queer cinema, she has gained an international reputation in the field of American experimental cinema. from her earliest films (X, Dyketactics, Superdyke), her boldness is evident in the enthusiastic and lyrical exploration of sexuality and women’s pleasure, previously terra incognita in the geography of cinema. for this, it invents new formal representations of flower and plant outbursts (Women I Love) to a symbolic vocabulary close to surrealism, revealing its proximity with maya Deren, and claude cahun (I Was / Am I, Psychosynthesis) and two recent works (Maya Deren’s Sink and Lover Other: Claude Cahun and Marcel Moore).
    [Show full text]
  • Eva Krainitzki
    Exploring the Hypervisibility Paradox: Older Lesbians in Contemporary Mainstream Cinema (1995-2009) Eva Krainitzki A thesis submitted to The University of Gloucestershire in accordance with the requirements of the degree of Doctor of Philosophy in the Faculty of Media, Arts and Technology July 2011 1 0 Abstract This thesis explores the intersection of age, gender and sexuality in representations of older lesbian characters in contemporary narrative film. Taking the 1990s as a benchmark of lesbian visibility, I explore the turn of the century representability by focusing on British and American film (1995 to 2009). I identify a hypervisibility paradox during this period of cinematic production where the presence of a multitude of young lesbian and bisexual characters can be seen to be in complete contrast with the invisibility of the older lesbian. Mainstream postfeminist culture censors the ageing female body, except in its ‘successfully aged’, youthful, heterosexualised form. Older lesbian characters are excluded from this frame of visibility and, instead, are represented through paradigms associated with the concept of ‘ageing as decline.’ There is little in existing age studies or lesbian film studies to articulate an understanding of the intersection of age, gender and sexuality in cinematic representation. I adopt an interdisciplinary cultural studies approach to make my contribution in what is an under-researched area and present a multifaceted approach to a complex cultural image. I investigate the continuity of the concept of the lesbian as ghostly (Castle, 1993) through narratives of illness, death and mourning. I argue that the narrative of ‘ageing as decline’ stands in for the process of ‘killing off’ lesbian characters (identified in 1960s and 1970s cinema).
    [Show full text]
  • Barbara Hammer Is a Visual Artist Primarily Working in Film and Video
    61 INTERVIEW “Art Is Energy”: Barbara Hammer Speaks with Sarah Keller about the State of Experimental Cinema after Maya Deren arbara Hammer is a visual artist primarily working in film and video. She was recently honored with retrospectives at the Museum of Modern Art in New York City (2011), Bthe Tate Modern, London (2012), and the Jeu de Paume, Paris (2012). Her work reveals and celebrates marginalized peoples whose stories have not been told, and it engages an audience viscerally and intellectually with the goal of activating them to make social change. Her trilogy of documentary film essays on lesbian and gay history has received numerous awards: Nitrate Kisses (1992), Tender Fictions (1995), History Lessons, (2000). Recent films, A Horse Is Not A Metaphor (2009), Generations (2010), and Maya Deren’s Sink (2011) were awarded Teddy Awards for Best Short Film at the Berlin International Film Festival. HAMMER! Making Movies Out of Sex and Life, a book of memoirs and personal film theory, was published by The Feminist Press, City University of New York, and Fearless Frames: The Films of Barbara Hammer at The Tate Modern will be released by Mousse Publishing, Milan, Italy in 2013. Sarah Keller first became aware of Barbara Hammer’s work through her first research into Maya Deren’s work, specifically from Hammer’s essay in tribute to Deren in Bill Nichols’ anthology Maya Deren and the American Avant-Garde (University of California Press, 2001). Since then, she has become a great fan of Hammer’s work, and recently invited her to lecture at Colby College, where it has generally been affirmed that during her visit Hammer positively transformed people’s lives, not at all unlike the way Deren affected her own audi- ences.
    [Show full text]
  • Barbara Hammer SISTERS!
    Barbara Hammer SISTERS! Barbara Hammer (Los Angeles, 1939 – New York, 2019) is one of the most influential figures in American experimental and activist cinema. Including eighty- three films and a great number of photographs, drawings, performances, collages and installations, her autobiographical work is a record of how lesbian and feminist dissent has been formulated from the late 1960s to the present day. 14.03 – 27.09.2020 This exhibition covers the fifty-year career of Barbara Hammer (Los Angeles, 1939 – New York, 2019), one of the most influ- ential voices in American experimental and activist cinema. It is the first retrospective exhibition of her work in Spain. Hammer was a pioneer in the political exploration of lesbian life and sexuality, the meaning of death, and the stories of those suffering social exclusion. She made eighty- four films, including short films and feature films, as well as a great number of collages, drawings, performances, pho- tographs and installations. Hammer’s works stretch from the early Super 8 films to the trilogy Nitrate Kisses (1992), Tender Fictions (1995) and History Lessons (2000). She investigated disease in Chance of Breast Cancer (1993), Cancer Bones (1994) and A Horse Is Not a Metaphor (2008) and entered into “critical dialogues” with artists, filmmakers and poets, including Claude Cahun, Maya Deren, Hannah Wilke, Elizabeth Bishop, Lota de Macedo Soares and Dziga Vertov. Her work can be considered a monu- mental autobiographical record of how lesbian and feminist dis- sent has been formulated from the late 1960s to the present day. Sisters!, which takes its title from a short film made by Hammer in 1973, also offers a set of proposals based on ances- tral myths in The Great Goddess (1977) and Sappho (1978); works on the ideological genealogies of lesbianism in The History of the World According to a Lesbian (1988), The Female Closet (1998) and Lover Other (2006); and many photographs of emblematic performances, such as Be My Valentine (1980-82) and Aphrodite’s Birth (1972), and of emotional and sexual moments.
    [Show full text]
  • “Feeling-Images” Montage, Body, and Historical Memory in Barbara Hammer’S Nitrate Kisses
    ALESSANDRA CHIARINI “Feeling-Images” Montage, Body, and Historical Memory in Barbara Hammer’s Nitrate Kisses ABSTRACT This essay investigates the ways in which Barbara Hammer’sfilmNitrate Kisses (1992) traces stories about homosexuality throughout the twentieth century. Inspired both by the concept of “vertical cinema,” as theorized by Maya Deren, and by the historical-philosoph- ical reflections of Michel Foucault and Walter Benjamin, Hammer realizes a montage process in Nitrate Kisses that resurrects a forgotten historical memory through the juxtaposition of ar- chival materials and original images. It is a memory that is reappropriated through the film as an experiential, tactile, and emotional moment. KEYWORDS Barbara Hammer, found footage film, Nitrate Kisses (1992), queer cinema, vertical cinema I am fifty-three years old and made my first film when I was thirty. I am aware that twenty-three years of my work that includes fifty films, twenty videotapes, and multiple performances could be lost in the historic process. Certain people, critics, writers, and film programmers control what is seen and what is written about. I made Nitrate Kisses () because lesbians, gays, bisexuals and transgendered people have been left out of history. 1 — BARBARA HAMMER, HAMMER! MAKING MOVIES OUT OF SEX AND LIFE A forerunner of American queer cinema and an undisputed protagonist of underground feminist cultural expression, Barbara Hammer is a prolific and multifaceted artist. Over the course of a career that has lasted more than forty years, she has realized more than eighty works—films, videos, performances, photographs, installations, and web projects—that have profoundly influenced generations of filmmakers and artists involved in gender activism and the LGBT subculture.
    [Show full text]