Publication: El cuerpo en los estudios sobre cine: gestus femenino, o tecnologías y teratologías del género y de la (pos)memoria
Authors
Ciancio, Belén
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Publisher
Universidad de Murcia. Servicio de Publicaciones
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Description
Abstract
“Donnez-moi donc un corps!”, el
grito filosófico con el que comienza el capítulo
8 de L’Image-temps de Gilles Deleuze, configuraría una serie de modulaciones acerca del cine
moderno, del cuerpo, del cerebro y de la memoria, así como del devenir. La conjetura de este trabajo es que, a través del concepto de “tecnologías del género”, surgido desde el feminismo en los mismos años en que Deleuze publica sus libros sobre cine ** , comienza una segunda línea donde el
cuerpo no sólo es un concepto para la teoría, sino
imagen-materia experimental en la teoría y práctica fílmica feminista así como en la teoría queer.
Entre ambas líneas estaría el concepto de “tecnologías de la memoria” (y de la posmemoria).
“Donnez-moi donc un corps!”, the philosophical shout with which the one begins chapter 8 of the deleuzian L’Image-temps, will shape a series of modulations about modern cinema, body, brain, memory and becoming. The hypothesis of this work is that through the concept of “technologies of gender”, that emerges from feminism in the same years that Deleuze published his books, will begin another line where the body is not only a concept for theory, but an experimental material-image in the feminist film theory and practice, as well as in the queer theory. In between this two lines would be the concept of “technologies of memories” (and postmemory).
“Donnez-moi donc un corps!”, the philosophical shout with which the one begins chapter 8 of the deleuzian L’Image-temps, will shape a series of modulations about modern cinema, body, brain, memory and becoming. The hypothesis of this work is that through the concept of “technologies of gender”, that emerges from feminism in the same years that Deleuze published his books, will begin another line where the body is not only a concept for theory, but an experimental material-image in the feminist film theory and practice, as well as in the queer theory. In between this two lines would be the concept of “technologies of memories” (and postmemory).
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