Blind Cinema: Reframing Visual Impairment in Shadow Girl (Chile 2016).
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| Title: | Blind Cinema: Reframing Visual Impairment in Shadow Girl (Chile 2016). |
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| Authors: | Ledesma, Eduardo1 (AUTHOR) eledes1@illinois.edu |
| Source: | Disability Studies Quarterly. Winter2022, Vol. 42 Issue 1, pN.PAG-N.PAG. 1p. 8 Color Photographs. |
| Subject Terms: | Vision disorders, Documentary filmmakers, Filmmaking, Exile (Punishment), Work experience (Employment) |
| Geographic Terms: | Chile |
| Abstract: | From an ableist perspective, few things may seem more unlikely than a blind filmmaker. Vision (a physical state) and the "gaze" (a theoretical construct) are central to and constitutive of film, so how could it be possible for a blind person to make a film? Yet, blind and visually impaired filmmakers such as Chilean director María Teresa Larraín, by virtue of their unique perspective, capture images in new ways, reframing blindness and altering society's expectations about the central role of the image and of how visuality operates in film. Recent films by visually impaired directors, as well as collaborations between blind and sighted filmmakers, show how the aesthetics and content of these works represent the experience of blindness. For example, Larraín's autobiographical documentary "Shadow Girl" (2016) mimics the filmmaker-protagonist's gradual vision loss by progressively darkening the screen, placing the spectator at the center of her traumatic experience. This self-reflexive documentary narrates the filmmakers' journey into blindness and, concurrently, her return to Chile after a lengthy exile. The loss of her vision is intricately linked to the loss of the Chile she recalls, binding the personal to the political. By asserting a new visual style that evokes vision loss even as she advocates for her rights as a blind artist, Larraín will reconstruct her status as a filmmaker and locate a renewed hope for Chile. Moreover, Shadow Girl disrupts our mistaken belief that vision is the primary way of processing the cinematic experience and the world at-large, making it a truly transgressive film in form and content alike. [ABSTRACT FROM AUTHOR] |
| Copyright of Disability Studies Quarterly is the property of Society for Disability Studies and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.) | |
| Database: | Education Research Complete |
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| Header | DbId: ehh DbLabel: Education Research Complete An: 158734562 AccessLevel: 6 PubType: Academic Journal PubTypeId: academicJournal PreciseRelevancyScore: 0 |
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| Items | – Name: Title Label: Title Group: Ti Data: Blind Cinema: Reframing Visual Impairment in Shadow Girl (Chile 2016). – Name: Author Label: Authors Group: Au Data: <searchLink fieldCode="AR" term="%22Ledesma%2C+Eduardo%22">Ledesma, Eduardo</searchLink><relatesTo>1</relatesTo> (AUTHOR)<i> eledes1@illinois.edu</i> – Name: TitleSource Label: Source Group: Src Data: <searchLink fieldCode="JN" term="%22Disability+Studies+Quarterly%22">Disability Studies Quarterly</searchLink>. Winter2022, Vol. 42 Issue 1, pN.PAG-N.PAG. 1p. 8 Color Photographs. – Name: Subject Label: Subject Terms Group: Su Data: <searchLink fieldCode="DE" term="%22Vision+disorders%22">Vision disorders</searchLink><br /><searchLink fieldCode="DE" term="%22Documentary+filmmakers%22">Documentary filmmakers</searchLink><br /><searchLink fieldCode="DE" term="%22Filmmaking%22">Filmmaking</searchLink><br /><searchLink fieldCode="DE" term="%22Exile+%28Punishment%29%22">Exile (Punishment)</searchLink><br /><searchLink fieldCode="DE" term="%22Work+experience+%28Employment%29%22">Work experience (Employment)</searchLink> – Name: SubjectGeographic Label: Geographic Terms Group: Su Data: <searchLink fieldCode="DE" term="%22Chile%22">Chile</searchLink> – Name: Abstract Label: Abstract Group: Ab Data: From an ableist perspective, few things may seem more unlikely than a blind filmmaker. Vision (a physical state) and the "gaze" (a theoretical construct) are central to and constitutive of film, so how could it be possible for a blind person to make a film? Yet, blind and visually impaired filmmakers such as Chilean director María Teresa Larraín, by virtue of their unique perspective, capture images in new ways, reframing blindness and altering society's expectations about the central role of the image and of how visuality operates in film. Recent films by visually impaired directors, as well as collaborations between blind and sighted filmmakers, show how the aesthetics and content of these works represent the experience of blindness. For example, Larraín's autobiographical documentary "Shadow Girl" (2016) mimics the filmmaker-protagonist's gradual vision loss by progressively darkening the screen, placing the spectator at the center of her traumatic experience. This self-reflexive documentary narrates the filmmakers' journey into blindness and, concurrently, her return to Chile after a lengthy exile. The loss of her vision is intricately linked to the loss of the Chile she recalls, binding the personal to the political. By asserting a new visual style that evokes vision loss even as she advocates for her rights as a blind artist, Larraín will reconstruct her status as a filmmaker and locate a renewed hope for Chile. Moreover, Shadow Girl disrupts our mistaken belief that vision is the primary way of processing the cinematic experience and the world at-large, making it a truly transgressive film in form and content alike. [ABSTRACT FROM AUTHOR] – Name: AbstractSuppliedCopyright Label: Group: Ab Data: <i>Copyright of Disability Studies Quarterly is the property of Society for Disability Studies and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract.</i> (Copyright applies to all Abstracts.) |
| PLink | https://search.ebscohost.com/login.aspx?direct=true&site=eds-live&db=ehh&AN=158734562 |
| RecordInfo | BibRecord: BibEntity: Identifiers: – Type: doi Value: 10.18061/dsq.v42i1.7673 Languages: – Code: eng Text: English PhysicalDescription: Pagination: PageCount: 1 StartPage: N.PAG Subjects: – SubjectFull: Vision disorders Type: general – SubjectFull: Documentary filmmakers Type: general – SubjectFull: Filmmaking Type: general – SubjectFull: Exile (Punishment) Type: general – SubjectFull: Work experience (Employment) Type: general – SubjectFull: Chile Type: general Titles: – TitleFull: Blind Cinema: Reframing Visual Impairment in Shadow Girl (Chile 2016). Type: main BibRelationships: HasContributorRelationships: – PersonEntity: Name: NameFull: Ledesma, Eduardo IsPartOfRelationships: – BibEntity: Dates: – D: 01 M: 01 Text: Winter2022 Type: published Y: 2022 Identifiers: – Type: issn-print Value: 10415718 Numbering: – Type: volume Value: 42 – Type: issue Value: 1 Titles: – TitleFull: Disability Studies Quarterly Type: main |
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