Of Guns and Sewing-Machines. On the Minor Nature of Third Cinema in Mexico
One of the most telling examples of the afterlives of Mexico’s movement of 1968 was the emergence of a significant number of art and film collectives that sought to articulate aesthetics and politics. The Marginal Film Coop (Cooperativa de Cine Marginal, 1971-1975) was the first of this kind of coll...
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| Formato: | Artículo revista |
| Lenguaje: | Español |
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Centro de Producción e Investigación en Artes, Facultad de Artes, Universidad Nacional de Córdoba.
2019
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| Acceso en línea: | https://revistas.unc.edu.ar/index.php/ART/article/view/25325 |
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I10-R361-article-253252023-03-02T18:57:53Z Of Guns and Sewing-Machines. On the Minor Nature of Third Cinema in Mexico De fusiles y máquinas de coser. Sobre la naturaleza menor del tercer cine en México Errazu, Miguel Cooperativa de Cine Marginal Cine Club cine mexicano Tercer Cinema temporalidad Cooperativa de Cine Marginal Cine Club mexican filmmaking Third Cinema temporality One of the most telling examples of the afterlives of Mexico’s movement of 1968 was the emergence of a significant number of art and film collectives that sought to articulate aesthetics and politics. The Marginal Film Coop (Cooperativa de Cine Marginal, 1971-1975) was the first of this kind of collectives, and probably the most politically committed of them. Created in 1971 as a grouping of young independent filmmakers, students, political activists, film clubbers and critics that had played different roles in the brigades of the 1968 movement, the Coop soon became a national network of production, distribution and exhibition of radical political cinema composed of more than 35 people, with solid relations with workers and unions across the country.Based on interviews, personal archives of some of its members, film journals and scattered Super 8 materials held at Filmoteca UNAM, my reading of the Coop explores how the “unsustained nature” of Mexican political cinema was part of a political and aesthetic operation of contesting a prevailing metaphor of Latin American’s political cinema, the camera as a weapon, and the temporality associated to it. Uno de los casos más paradigmáticos de la supervivencia del movimiento estudiantil mexicano de 1968 fue la emergencia, durante los años setenta, de un número significativo de grupos artísticos y colectivos cinematográficos que trataron de articular la política con su práctica estética. La Cooperativa de Cine Marginal (1971-1973/75) fue el primero de estos colectivos fílmicos, y probablemente el más comprometido políticamente. Conformado en 1971 como una agrupación de cineastas independientes, estudiantes, activistas políticos, cineclubistas y críticos que habían participado de diferentes maneras en las brigadas del movimiento estudiantil, la cooperativa se transformó rápidamente en una red nacional de producción, distribución y exhibición de cine político, compuesta por más de treinta y cinco personas, con relaciones sólidas con trabajadores y organizaciones sindicales en todo el país. A partir de entrevistas, archivos personales, revistas de cine y materiales fílmicos a resguardo en la Filmoteca de la UNAM, mi lectura de la cooperativa explora cómo la naturaleza asumida como menor del tercer cine mexicano sería parte de una operación estético-política de cuestionamiento de una de las metáforas más extendidas del cine político latinoamericano –la cámara como fusil–, así como de la temporalidad de los procesos revolucionarios que pone en juego. Centro de Producción e Investigación en Artes, Facultad de Artes, Universidad Nacional de Córdoba. 2019-09-01 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Double-blind peer-reviewed article Artículo revisado por sistema de pares doble ciego application/pdf text/html application/epub+zip https://revistas.unc.edu.ar/index.php/ART/article/view/25325 10.55443/artilugio.n5.2019.25325 Artilugio; No. 5 (2019): Temporality, Context and Imaginary Frameworks; 167-183 Artilugio; Núm. 5 (2019): Temporalidad, contexto y entramados imaginarios; 167-183 Artilugio; n. 5 (2019): Temporalidad, contexto y entramados imaginarios; 167-183 2408-462X 10.55443/artilugio.n5.2019 spa https://revistas.unc.edu.ar/index.php/ART/article/view/25325/24599 https://revistas.unc.edu.ar/index.php/ART/article/view/25325/24618 https://revistas.unc.edu.ar/index.php/ART/article/view/25325/24646 Derechos de autor 2019 Miguel Errazu http://creativecommons.org/licenses/by-nc-nd/4.0/ |
| institution |
Universidad Nacional de Córdoba |
| institution_str |
I-10 |
| repository_str |
R-361 |
| container_title_str |
Artilugio |
| language |
Español |
| format |
Artículo revista |
| topic |
Cooperativa de Cine Marginal Cine Club cine mexicano Tercer Cinema temporalidad Cooperativa de Cine Marginal Cine Club mexican filmmaking Third Cinema temporality |
| spellingShingle |
Cooperativa de Cine Marginal Cine Club cine mexicano Tercer Cinema temporalidad Cooperativa de Cine Marginal Cine Club mexican filmmaking Third Cinema temporality Errazu, Miguel Of Guns and Sewing-Machines. On the Minor Nature of Third Cinema in Mexico |
| topic_facet |
Cooperativa de Cine Marginal Cine Club cine mexicano Tercer Cinema temporalidad Cooperativa de Cine Marginal Cine Club mexican filmmaking Third Cinema temporality |
| author |
Errazu, Miguel |
| author_facet |
Errazu, Miguel |
| author_sort |
Errazu, Miguel |
| title |
Of Guns and Sewing-Machines. On the Minor Nature of Third Cinema in Mexico |
| title_short |
Of Guns and Sewing-Machines. On the Minor Nature of Third Cinema in Mexico |
| title_full |
Of Guns and Sewing-Machines. On the Minor Nature of Third Cinema in Mexico |
| title_fullStr |
Of Guns and Sewing-Machines. On the Minor Nature of Third Cinema in Mexico |
| title_full_unstemmed |
Of Guns and Sewing-Machines. On the Minor Nature of Third Cinema in Mexico |
| title_sort |
of guns and sewing-machines. on the minor nature of third cinema in mexico |
| description |
One of the most telling examples of the afterlives of Mexico’s movement of 1968 was the emergence of a significant number of art and film collectives that sought to articulate aesthetics and politics. The Marginal Film Coop (Cooperativa de Cine Marginal, 1971-1975) was the first of this kind of collectives, and probably the most politically committed of them. Created in 1971 as a grouping of young independent filmmakers, students, political activists, film clubbers and critics that had played different roles in the brigades of the 1968 movement, the Coop soon became a national network of production, distribution and exhibition of radical political cinema composed of more than 35 people, with solid relations with workers and unions across the country.Based on interviews, personal archives of some of its members, film journals and scattered Super 8 materials held at Filmoteca UNAM, my reading of the Coop explores how the “unsustained nature” of Mexican political cinema was part of a political and aesthetic operation of contesting a prevailing metaphor of Latin American’s political cinema, the camera as a weapon, and the temporality associated to it. |
| publisher |
Centro de Producción e Investigación en Artes, Facultad de Artes, Universidad Nacional de Córdoba. |
| publishDate |
2019 |
| url |
https://revistas.unc.edu.ar/index.php/ART/article/view/25325 |
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2024-09-03T22:28:03Z |
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2024-09-03T22:28:03Z |
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