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Filming

direct cinema, did convey these differences?

subjective representation of desire in men and women is still a relatively unexplored subject. So perhaps the section "Women and Cinema" of the recent International Film Festival Mar del Plata was dominated by questions How do you shoot the desire? and how do they film the women? Especially loving desire, sexual.

Each film is built from the perspective of the author.

In this sense, looks for more than twenty directors of films which were showed more diversity than all were women. But since the documentary Filming

desire of the Belgian Marie Mandy, the different ways men and women shooting was an obligatory subject of interviews and debates. Mandy

interviewed colleagues from all continents except Latin America (strange absence), famous directors, to see how they managed on the set when the nudity and the desire to say "present." French Agnes Varda's voice was heard more feminist "Women live in a woman's body and therefore we must look at ourselves with our own eyes." From the courtyard of his home in Paris, this legendary veteran seen in the movie "founder of nouvelle vague" educational arguments against the interviewer: "Women have to look in your eyes, not the other."

The other, it is understood, are the men who monopolized hundred years the film industry, and always gave us the representations that most civilizations. Mandy met with digital camera and 15 filmmakers with three premises: that the meeting was at the place where they live (although I had to travel to Senegal and India); submit linking their film careers with motherhood (if they had children) and that the focus of the talk out the feminine in creation. Diversity of opinion is the militancy of the provocation Varda Carine Adler. The film debuted in English after the birth of her first child with a story that thematized the loneliness of a young girl when her mother dies showing how the vacuum is being filled with sexual encounters. In one a man pees on her face (A frequent image in films made by men, a male fantasy might think). "I do not make films politically correct Adler argues quiet, and I can do those scenes because I am female. A man at this time would cost more." Surprise

different perspective of the African. While European, American and Canadian focus their responses on a more or less away from gender-predominant idea that the films made by women is the desire and the body differently, emphasizing the nakedness in its completeness and no in erogenous zones, showing the sexual pleasure from the pleasure of nosólo women and men, and stressing that any appropriation of the ideological body, the African trip they go into more intimate, in a feminine universe almost closed. While the Tunisian Moufida Tlatli to consider how women in her village the absence of husbands, for business trips, can give more joy and pleasure that the presence of them, Safi Faye of Senegal, to whom the ideas will "come when I'm in the kitchen and write in rags or papers that I find "- shows how the best sex education for a girl is the story of the experience of another girl.

From the discussion about how they filmed the desire-or gender in film, attended also by lesbian filmmaker Rose Troche, who was in Mar del Plata presenting his latest film, The Safety of Objects. "I think our position in the world is very different from the man-emphasized in an interview. It is a difference in sensitivity is not very obvious, it is very subtle. You can get the name of the novel, the picture of the movie, and anyway you can find out who did it. Sometimes I look at a painting in a museum and say it was painted by a woman. That difference is something good will come a time when this does not mean worse. "

Source:
http://www.mujeresdeempresa.com/arte_cultura/020301-filmar-el -deseo.shtml