ABSTRACT

This article aims to analyse female authorship in the materialisations of contemporary epistolary cinema, focusing on epistolary films and epistolary essay films. The works of various filmmakers are essential to understand the evolution of this enunciation device and the exploration of female alterities materialised through it. Women filmmakers' epistolary practices delve into the exploration of intimate space, authorial vindication, epistolary materiality, intersubjectivity and cinematic thinking to create diverse experiences of female alterity, developing this postmodern paradigm inherent in the epistolary device. Since Chantal Akerman started the practice of the epistolary film with News from Home (1977 L’une chante, l’autre pas. 1977. Film. Directed by Agnès Vardà. France: Ciné Tamaris [Google Scholar], other women filmmakers have developed this cinematic form. The reading of a personal correspondence allows the exploration of female intimate alterities—Measures of Distance (1988), Punto impropio (2015), A Minha Avó Trelotótó (2018). Besides, the epistolary film is fictionalised, displacing it to the intellectual space—From Hetty to Nancy (1997 From Hetty to Nancy. 1997. Directed by Deborah Stratman. USA: Pythagorasfilm. [Google Scholar]), Endless Dreams and Water Between (2009). Other people’s real correspondence is also instrumentalised to create their recreations and representations, vindicating female alterities both socially and personally—Letter #69 (2016 Punto Impropio. 2016. Film. Directed by Albertina Carri. Argentina: Albertina Carri.[Crossref] , [Google Scholar]), The Dreamed Ones (2016 Punto Impropio. 2016. Film. Directed by Albertina Carri. Argentina: Albertina Carri.[Crossref] , [Google Scholar]). Finally, women filmmakers addressed the cinematic form of the essay film—Letters from Panduranga (2015), Correspôndencias (2016 Punto Impropio. 2016. Film. Directed by Albertina Carri. Argentina: Albertina Carri.[Crossref] , [Google Scholar]).

摘要

本文旨在分析当代书信电影的物质化中的女性作者身份，重点关注书信电影和书信散文电影。各种电影制作人的作品对于理解这种发音装置的演变以及通过它具体化的女性异性的探索至关重要。女性电影制作人的书信实践深入探索私密空间、作者辩护、书信物质性、主体间性和电影思维，以创造女性异性的多样化体验，发展书信装置固有的后现代范式。自从尚塔尔·阿克曼 (Chantal Akerman) 以《来自家乡的消息》 ( 1977 年) 开始了书信体影片的实践以来 L'une cante, l'autre pas. 1977 年。电影。由阿涅斯瓦尔达执导。法国：Ciné Tamaris [谷歌学术]，其他女性电影制作人已经开发了这种电影形式。阅读个人信件可以探索女性亲密的异性——距离测量(1988)、即兴表演(2015)、A Minha Avó Trelotótó(2018)。此外，书信电影是虚构的，将其转移到知识空间——从海蒂到南希（1997 从海蒂到南希。1997 年。黛博拉·斯特拉特曼执导。美国：毕达哥拉斯电影。 [谷歌学术] ),无尽的梦想与水之间(2009). 其他人的真实通信也被用来创造他们的娱乐和表现，证明女性在社会和个人方面的差异性——信件 #69（2016 年 即兴表演。2016 年。电影。由阿尔贝蒂娜·卡里执导。阿根廷：阿尔贝蒂娜·卡里。[Crossref]  , [Google Scholar] ),The Dreamed Ones(2016 即兴表演。2016 年。电影。由阿尔贝蒂娜·卡里执导。阿根廷：阿尔贝蒂娜·卡里。[交叉引用]  ，[谷歌学术搜索]）。最后，女性电影制作人谈到了散文电影的电影形式——来自 Panduranga 的来信（2015 年）、Correspôndencias（2016 年 即兴表演。2016 年。电影。由阿尔贝蒂娜·卡里执导。阿根廷：阿尔贝蒂娜·卡里。[交叉引用]  ，[谷歌学术搜索]）。