Faino ti mesma. Novas creadoras galegas, cinema do eu e cultura dixital.
Those who have created films from non-hegemonic positions have often tended to compensate their difficulties in using industrial models of production by choosing non-professional tools and models, as it has been pointed out by theoretical approaches to films made by women or to the Novo Cinema Galeg...
| Publicado en: | Galicia 21: Journal of Contemporary Galician Studies pp. 39 - 65 |
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| Formato: | Artículo |
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Galicia 21: Journal of Contemporary Galacian Studies
2021
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=160108856&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 160108856 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 20407181 EV90 jtl: Galicia 21: Journal of Contemporary Galician Studies issn: 20407181 maglogo: N pubinfo: dt: 2021 pid: 76569 pub: Galicia 21: Journal of Contemporary Galacian Studies artinfo: ui: 160108856 ppf: 39 ppct: 26 formats: tig: atl: Faino ti mesma. Novas creadoras galegas, cinema do eu e cultura dixital. aug: au: Tenreiro Uzal, Cibrán affil: Universidade de Santiago de Compostela su: Smartphones Filmmaking Nonfiction Internet Archives sug: subj: Smartphones Filmmaking Nonfiction Internet Archives keyword: Digital culture Feminism Galician cinema Personal cinema Cinema do eu Cinema galego Cultura dixital Feminismo Teléfonos móbiles ab: Those who have created films from non-hegemonic positions have often tended to compensate their difficulties in using industrial models of production by choosing non-professional tools and models, as it has been pointed out by theoretical approaches to films made by women or to the Novo Cinema Galego phenomenon (in relation to which Beli Martínez highlighted the frequent use of small teams). Those circumstances (to a certain extent common) gave way, in those two fields, to creative resources normally associated to non-fiction and very tied to the personal, such as the use of the first person, the presence of the body and the attention to everyday spaces and actions. In this article we examine how those ties to a personal cinema reached a number of recent Galician audiovisual artists, in a technological context in which those non-professional tools and models of production can be altered by the influence of the Internet (as a creative tool and as a space for distribution) and smartphones (as non-professional recording devices and archives of home movies). As persoas que realizaron cinema desde posicións non hexemónicas tenderon habitualmente a compensar as súas dificultades para acceder a modelos de produción industrial co uso de ferramentas e modelos de carácter non profesional, como teñen sinalado diversas aproximacións teóricas ao cinema feito por mulleres ou ao fenómeno do Novo Cinema Galego (do que Beli Martínez sinalou a predominancia dos equipos de traballo pequenos). Esas circunstancias (ata certo punto) comúns deron pé neses dous ámbitos a recursos creativos asociados normalmente á non ficción e moi apoiados no persoal, como o uso da primeira persoa, a presenza do propio corpo ou a atención aos espazos e accións do cotián. Neste artigo observamos o xeito en que esas filiacións nun cinema do eu chegan a unha serie de artistas audiovisuais recentes, nun contexto tecnolóxico en que as citadas ferramentas e modelos de produción de carácter non profesional poden verse alterados pola influencia da Internet (como ferramenta creativa e como espazo para a circulación das obras) e dos móbiles (como dispositivo de gravación non profesional e arquivo do rexistro doméstico). pubtype: Academic Journal doctype: Article src: R language: Portuguese refInfo: copyright: @attributes: flag: Y dt: @attributes: year: 2021 holdings: @attributes: islocal: N |
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