Scenarios of Transnationality and Gender Perspective in the Works of Filmmakers

Abstract

The text covers the paths that different generations of filmmakers have taken in the field of film production and production, stressing the creative tension that their work shows us. A tension that has to do with the encounter of many of them with feminisms and the formal demands that derive from it. An attempt to analyse the creative productivity of these tensions in the area of fitness in relation to the politics of visibility of bodies, sexualities, the production processes of economies and the role played in them by women’s bodies, among other aspects, has been made. Analyzing the silences imposed by the different channels in which androcentrism imposes itself, the text invites us to reread the stories about the evolution of film production from other spaces outside the official historiographic canons.On this basis, different strategies that have been used since the very origins of the cinematograph are discussed, ranging from the most commercial to the most eccentric. From the most local to the most transnational, from the most industrial to the most collaborative, and which high-light both the invisible existence of a genealogy of filmmakers and the need to open up the field of historiographic documentation, to new, divergent scenarios with «ways of seeing» which, in the interest of a convention and a canon with the pretension of building universal patterns, hide enormously enriching and revealing devices.