Cinematographic Preservation Panel. Cinema made by women, three case studies
Last Tuesday took place the table Cinematographic Preservation Panel. Cinema made by women, three case studies, took place, moderated by Pablo Marín, in which the preservation efforts carried out on the materiality of the works of three filmmakers -María Luisa Bemberg, Anne Charlotte Robertson and Narcisa Hirsch- were described and analyzed. Paula Félix-Didier, director of the Museo del Cine Pablo Ducrós Hicken, pointed out that the collection of films and objects by María Luisa Bemberg in the in the Museum “is very complex, because it includes a very large variety of materials. Plus, we have acquired them little by little and for a long time”. She described the characteristics of the particular collections of each film, and highlighted the work of María del Carmen Vieites, curator of the institution, who was in charge of the selection of graphic materials for El asombro y la audacia. The cinema of María Luisa Bemberg.
Haden Guest, director of the Harvard Film Archive (who presented two sections in the last edition of the Festival), spoke about the work that the institution is carrying out with the work of Anne Charlotte Robertson, a director “key to experimental cinema in the United States. Not only was she a radical director, but a pioneer in first-person cinema”. In addition, he added that “her work is mostly in Super 8 and 16mm and in analog video formats. We are carrying out this great digitization project”. Finally, Tomás Rautenstrauch referred to the work he’s doing with Daniela Muttis in the direction of the Filmoteca Narcisa Hirsch, the archive for the preservation of the films of a decisive director of Argentine experimental cinema. Rautenstrauch indicated that “Narcisa Hirsch’s project has been in the works for about ten years. There were many comings and goings, various initiatives were considered to see how Narcisa’s cinematography goes on and on after her death. It was basically Narcisa who thought and decided what was going to happen, and she handed the control of this project to Daniela Muttis and me”. He also added that the Filmoteca includes not only her work, but also films by other filmmakers acquired by her. The exhibitors shared some of the materials that are undergoing preservation processes, and exchanged impressions on the importance of the work carried out to preserve the legacy of the work of each of the three mentioned filmmakers.
Below, the recording of this table: