Temporal Surfacing: Mosori Monika (1970) and Chick Strand's Cross-Cultural Explorations

IF 0.1 3区 艺术学 0 FILM, RADIO, TELEVISION
Ekin Pinar
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引用次数: 0

Abstract

This article considers how the temporality at work in Chick Strand's film Mosori Monika (US, 1970) breaks with the patriarchal, colonial, and capitalist narratives of genealogy, progress, and production. In Mosori Monika, an experimental ethnographic film that documents the swamps of Orinoco River in Venezuela, filmmaker Strand focuses her attention on the interactions between the Spanish Franciscan missionaries who came to the site in 1945 and the Warao who had little to no interaction with the outside world before the missionaries’ appearance. The film shows the competing realities and subjectivities of two women living in the area: a Franciscan nun, Sister Isabel, and an old Warao woman, Carmelita. Unlike the linear “exceptional artist beyond her time” narratives manifest in the recent spur of interest in Strand's body of work, the article explores the contemporary feel of Strand's film in relation to the transnational, cross-cultural, and affective ranges that go unnoticed when the scope of 1970s feminisms is painted in broad brushstrokes. Accordingly, the article emphasizes that Strand's nonteleological approach to history and ethnography in her film at once challenges the colonial, patriarchal gaze and its temporal distanciation and subjugation and invites us to reassess the linear feminist narratives of evolution, progress, and/or loss that often tend to rely on reductive historical periodization. Strand's filmmaking methods and style provide us with an alternative feminist historiographical model, “surfacing,” that highlights the productive resonances between then, now, and possible futures.
时间表面:Mosori Monika(1970)和Chick Strand的跨文化探索
本文探讨了Chick Strand的电影《Mosori Monika》(美国,1970年)中的时间性是如何打破父权制、殖民主义和资本主义的宗谱、进步和生产叙事的。在一部记录委内瑞拉奥里诺科河沼泽的实验性民族志电影《莫索里莫妮卡》(Mosori Monika)中,电影制作人斯特兰德(Strand)将她的注意力集中在1945年来到这里的西班牙方济会传教士与瓦拉奥人之间的互动上,在传教士出现之前,瓦拉奥人几乎没有与外界的互动。这部电影展示了生活在该地区的两个女人的竞争现实和主观性:一个是方济会修女伊莎贝尔修女,一个是瓦拉奥老妇卡梅利塔。不像线性的“超越她的时代的杰出艺术家”叙述,在最近对斯特兰德作品的兴趣中表现出来,这篇文章探讨了斯特兰德电影与跨国、跨文化和情感范围的关系,这些在20世纪70年代女权主义的范围被广泛描绘时被忽视了。因此,这篇文章强调,斯特兰德在她的电影中对历史和民族志的非目的论方法立即挑战了殖民主义、父权制的凝视及其时间距离和征服,并邀请我们重新评估线性女权主义对进化、进步和/或损失的叙述,这些叙述往往依赖于简化的历史分期。斯特兰德的电影制作方法和风格为我们提供了另一种女权主义的历史研究模式,“表面”,突出了当时、现在和可能的未来之间的富有成效的共鸣。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
CAMERA OBSCURA
CAMERA OBSCURA FILM, RADIO, TELEVISION-
CiteScore
0.30
自引率
0.00%
发文量
12
期刊介绍: Since its inception, Camera Obscura has devoted itself to providing innovative feminist perspectives on film, television, and visual media. It consistently combines excellence in scholarship with imaginative presentation and a willingness to lead media studies in new directions. The journal has developed a reputation for introducing emerging writers into the field. Its debates, essays, interviews, and summary pieces encompass a spectrum of media practices, including avant-garde, alternative, fringe, international, and mainstream. Camera Obscura continues to redefine its original statement of purpose. While remaining faithful to its feminist focus, the journal also explores feminist work in relation to race studies, postcolonial studies, and queer studies.
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