Abstract
Starting from the distinction between the “culture of the eye” and the “culture of the hand” by Fina García Marruz, the analysis vindicates a tactile and sensorial cinema, linked to a feminine sensibility that has been undervalued in favor of a rational and objective vision. Through films by directors such as Miñuca Villaverde, Agnès Varda, Chick Strand, Helke Sander and Sara Gómez, the work traces a cinematic lineage based on haptic perception, materiality and sensory experimentation, highlighting the persistence of these expressive forms in different moments and geographies.
Details
Presentation Type
Paper Presentation in a Themed Session
Theme
KEYWORDS
Haptic Perception, Amateur, Women, Minor Cinema, Feminism, Poetry, Cuban Filmmakers
