Docencia e Investigación PMZ: Ética y documental

CONSIDERACIONES ÉTICAS VERSUS IMPOSICIONES MORALES

Emplazamiento - corte & plano - imagen como principio de poder

https://drive.google.com/file/d/1czaEoUTbPegnAbqzeT8L2efzTqQlAoh5/view

"Too often a binary opposition between subjetivity and objetivity is perpetrated in the claim that one makes subjective documentary - as if anyone can produce such a thing as objective documentary. There is nothing objective and truly impersonal in filmmaking, although there can be a formulary, cliched approach to film. What you often have is a mere abidance by the conventions of documentary practice, which is put forward as the 'objective' way to document other cultures. It is as if the acknowledgment of the politics of the documentation and the documenting subject disturbs because the interests at stake are too high for the guardians of norms" Trinh Minh-Ha

"In the politics of constructing identity and meaning, language as translation and/or film as translation is necessarily a process whereby the self loses its fixed boundaries - a disturbing yet potentially empowering practice of difference. For me, it is precisely in fighting on more than one fron at a time- that is, in fighting not only against forms of domination and exploitation but also against less easily locatable forms of subjection or of binarist subjectivity- that the feminist struglle and other protest movements can continue, as discussed earlier, to resist falling back into the consolidation of conformism" Trinh Minh-Ha

https://drive.google.com/open?id=1DCtof2yJYrWaVtwQI3FB13Tut4x7D3l4

"Un hombre o un niño que se muera de hambre o de enfermedad en nuestros días no puede ser espectáculo que nos haga esperar a que mañana o pasado mañana, el hambre y la enfermedad desaparezcan por gravitación. En este caso inercia es complicidad; conformismo es incidencia con el crimen." Santiago Álvarez

"En una realidad convulsa como la nuestra, como la que vive el Tercer Mundo, el artista debe autoviolentarse, ser llevado concientemente a una tensión creadora en su profesión. Sin preconceptos, ni prejuicios a que se produzca una obra artística menor o inferior, el cineasta debe abordar la realidad con premura, con ansiedad. Sin plantearse “rebajar” el arte ni hacer pedagogía, el artista tiene que comunicarse y contribuir al desarrollo cultural de su pueblo; y sin dejar de asimilar las técnicas modernas de expresión de los países altamente desarrollados, no debe dejarse llevar tampoco por las estructuras mentales de los creadores de las sociedades de consumo." Santiago Álvarez