Silencios y olvidos de las obras chircales y amor, mujeres y flores en el cine documental de Marta Rodríguez

Abstract

With the present research work an analysis is performed to the gender perspective, silences and forgetfulness2 in the memory of the documentary filmmaking, from the works Chircales and, Love, women and flowers, through a criticism that includes elements of theorical comparative analysis in relation with the aesthetic framework of the work. The purpose for its development, have to be with the academic gap that exists in the detailed analysis of the work done by Marta Rodríguez and Jorge Silva. Even though they represent through art a humanist approach typical of their time and expose transcendental issues such as: social inequality, labor exploitation, environmental problems in the flowers industry and, in general, a political, social and poetic speech of silences and forgetfulness in the historical memory of Colombia, an analysis in perspective of the meanings for memory of Colombia has not been performed and, the gender approach that is explicit in the two works. In what way the gender perspective, silences and forgetfulness in the memory of documentary cinema are exposed, from the works Chircales and, Love, women and flowers? was the question that guided the research. To give answer and, through the methodological design of qualitative type with hermeneutic or interpretative perspective; in first place, the social and political historiography of the years (1966 to 1971) and (1984 to 1989) are compared with the memory-producing elements of the two works. Subsequently, the influence of the sociology and the anthropology is analyzed and, the relevance of the innovation in the method (Jean Rouch) during construction. Finally, the gender perspective of Cordero and Mulvey is described, which is immersed in the production of the documentaries.