Publication: La representación de la mujer como personaje histórico en el cine argentino: Camila: historia de una pasión prohibida
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2011
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T&B editores
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Abstract
Esta Comunicación se propone revisar el film “Camila” de 1984 dirigido por María Luisa Bemberg en el cual se narra la verdadera y trágica historia de amor entre Camila O„Görman y el sacerdote Ladislao Gutiérrez ocurrida a mediados del siglo XIX, en pleno período rosista de la joven nación Argentina. Desde lo metodológico a la luz de las teorías históricas y estéticas del cine, se tendrá en cuenta especialmente la poética implícita en la obra de esta directora que presenta un corpus fílmico sólidamente construido a partir de sus convicciones ideológicas y artísticas inspiradas en los ideales feministas : heredera de la tradición moderna representó la vanguardia de una estirpe de mujeres directoras y autoras en una cinematografía signada por la diferencia de género, murió el plena actividad en 1995 .Su obra cambió el estatus representacional de las protagonistas mujeres en el cine argentino revirtiendo el orden patriarcal instituido durante décadas en un campo cultural y una industria que se vieron conmocionados por su espíritu transgresor.
The purpose of this Communication is to review “Camila” the movie directed by Maria Luisa Bemberg in 1984, which tells the real and tragic love story between Camila O‟Gorman and the Catholic priest Ladislao Gutiérrez in mid-nineteenth century at the times of the tyrant Rosas in the young nation called Argentina. From the methodology to the light of the historical studies and cinema aesthetic, it will take in account specially on the implicit poetic of her work revealing a filmography solidly built throughout her ideological and artistic convictions inspired by the feminism ideals: the heiress of a modern tradition, she represented the avant-guard of a breed of women filmmakers in a film industry marked by the gender discrimination, Bemberg died in full swing in 1995. Her work changed the status of representation about female characters at the argentine cinema, reverting a patriarchal order established for decades in a cultural ground and one industry found shocked by her transgressor soul.
The purpose of this Communication is to review “Camila” the movie directed by Maria Luisa Bemberg in 1984, which tells the real and tragic love story between Camila O‟Gorman and the Catholic priest Ladislao Gutiérrez in mid-nineteenth century at the times of the tyrant Rosas in the young nation called Argentina. From the methodology to the light of the historical studies and cinema aesthetic, it will take in account specially on the implicit poetic of her work revealing a filmography solidly built throughout her ideological and artistic convictions inspired by the feminism ideals: the heiress of a modern tradition, she represented the avant-guard of a breed of women filmmakers in a film industry marked by the gender discrimination, Bemberg died in full swing in 1995. Her work changed the status of representation about female characters at the argentine cinema, reverting a patriarchal order established for decades in a cultural ground and one industry found shocked by her transgressor soul.
Description
Actas del Segundo Congreso Internacional de Historia y Cine organizado por el Instituto de Cultura y Tecnología Miguel de Unamuno y celebrado del 9 al 11 de septiembre de 2010 en la Universidad Carlos III de Madrid
Keywords
Cine, Historia, Representación, Mujeres argentinas, Cinema, History, Representation, Argentine women
Bibliographic citation
La biografía fílmica: actas del Segundo Congreso Internacional de Historia y Cine (2, 2010, Madrid)[cd-rom]. Gloria Camarero (ed.). Madrid: T&B editores, 2011, pp. 843-856