Narcisa Hirsch. Portraits
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Date
2013-06
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Ohio State University. Center for Latin American Studies
Abstract
The mechanisms that structure any work can be analyzed on the basis of the
operations employed in its articulation, and, at the same time, on the basis of the
aesthetic or biographical genealogies it calls into play. An analysis of Narcisa
Hirsch’s experimental film Taller(1975) allows access to a particular period of
experimental film in Argentina during the sixties and seventies, and also to
aspects of her biography at the time she made the film, including frictions
present throughout her life—as in many other lives—related to exile, the coexistence of experimental film and political film and the emergence of a second
wave of feminism in Argentina. Taller is analyzed as a portrait “in absentia”. It is
a portrait consisting of maps of personal and cultural experiences, but in which
Hirsch’s face never appears. On the other hand, it is a strategy by way of which
the system of quotes and collage characteristic of her work is made visible. Her
work poses questions regarding an identity in transit, inscribed in a circular route
of references to an image archive where film and photography are juxtaposed.
The tension between these two languages and the timeframes involved is the key
to the way in which her films activate aesthetic, historical and cultural questions.
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Citation
alter/nativas, latin american cultural studies journal, no. 1 (Autumn 2013)