Cinematographic Resonances: Points of Contact and Overflows in the Definition of Experimental-Structural Cinema alongside the Cinematic Oeuvre of Narcisa Hirsch and Rose Lowder

Abstract

Experimental cinema, understood here as a porous concept originating in the Western world, grew a structuralist offshoot, which influenced the production of specific movies made in Latin America, which distanced themselves from Third Cinema, a popular movement of the 60s and 70s. Within this subculture, and immediately afterwards in the 80s and 90s, two filmmakers and visual artists sprang into view: Narcisa Hirsch, born in Berlin, but working and filming in Argentina; and Rose Lowder, born in Lima and working in France. At first glance, it could be said that their films dialog with the styles and the goals of what has been known as structural film, a movement of the English-speaking world. However, these two filmmakers, having taken this movement as their starting point, refused to adhere to its norms. This allows us to reflect upon the filmic resonances of their work while also transcending the confines of structural film. In order to accomplish this, we must first define experimental and structural film, citing both Western and Latin American authors, such as Duncan Reekie, A. L. Rees, P. Adams Sitney, Peter Gidal, Juan Pablo Lattanzi, Andrea Giunta and Silvestre Byrón. Secondly, we shall analyze Lowder and Hirsch’s filmic oeuvre while drawing on various other authors. In so doing, we shall unlock new perspectives of two key female actors, who propose a transformation of cinematic language, putting into question no only how the images of cinema might be perceived, but also how the concept of experimental cinema can be understood within Latin America or outside of it.