Skip to content
1981
Volume 18, Issue 3
  • ISSN: 2050-4837
  • E-ISSN: 2050-4845

Abstract

Teo Hernández (Ciudad Hidalgo 1939–Paris 1992) began a prolific career as an experimental filmmaker after entering a self-imposed exile in Paris in 1966. With no formal training, he completed dozens of films on the amateur format of Super 8 before his untimely death at the height of the AIDS epidemic in France. Hernández’s cinema cannot be separated from his postcolonial experience as an undocumented immigrant in Europe. Based on his audio-visual and written work, this article examines how the filmmaker elaborated a unique film theory grounded in an auto-ethnographic appropriation of primitivist tropes. Through this queer exilic cinema, Hernández crafted an authorial persona around the figure of a shamanic filmmaker. I take the films / (Hernández 1981–82) and (Hernández 1987) as a point of departure to examine the construction of a cinematic ritual capable of inducing trance in the body of the spectator and the filmmaker.

Loading

Article metrics loading...

/content/journals/10.1386/slac_00060_1
2021-09-01
2024-11-09
Loading full text...

Full text loading...

References

  1. Ancira García, A.. ( 2018), Eso que parece no encontrar su lugar: El cine de Teo Hernández, Mexico City:: Buró-Buró;.
    [Google Scholar]
  2. Dusinberre, D.. ( 2005), MétroBarbèsRochechou Art – 1980–1983: Gael Badaud, Teo Hernández, Jakobois, Michel Nedjar, Paris:: Paris Experimental;.
    [Google Scholar]
  3. Fernández, E.. ( 1948), Río Escondido, Mexico:: Azteca Films;.
    [Google Scholar]
  4. Hernández, T.. ( 1981–82), Nuestra señora de Paris, France:: n.prod;.
    [Google Scholar]
  5. Hernández, T.. ( 1982), Reportage sur Emilio Fernández, Hôtel, 17 mars 1982; Réception Unifrance, 25 mars 1982, Fonds Teo Hernández, HERN 2, D11, Paris:: Centre Georges Pompidou;.
    [Google Scholar]
  6. Hernández, T.. ( 1987), Pas de ciel, France:: n.prod;.
    [Google Scholar]
  7. Hernández, T.. ( 1997), Trois gouttes de mezcal dans une coupe de champagne (ed. J.-M. Bouhours), Paris:: Centre Georges Pompidou;.
    [Google Scholar]
  8. Hernández, T.. ( 2019), Anatomía de la imagen: Notas de Teo Hernández (eds A. A. García and N. M. Andrade), Mexico City:: Buró-Buró;.
    [Google Scholar]
  9. Marks, L.. ( 2000), The Skin of the Film: Intercultural Cinema, Embodiment, and the Senses, Durham, NC:: Duke University Press;.
    [Google Scholar]
  10. Moore, R.. ( 2000), Savage Theory: Cinema as Modern Magic, Durham, NC:: Duke University Press;.
    [Google Scholar]
  11. Naficy, H.. ( 2001), An Accented Cinema: Exilic and Diasporic Filmmaking, Princeton, NJ:: Princeton University Press;.
    [Google Scholar]
  12. Noguez, D.. ( 1997;), ‘ Toute cette douleur, toute cette beauté. ’, in J.-M. Bouhours. (ed.), Trois gouttes de mezcal dans une coupe de champagne, Paris:: Centre Georges Pompidou;, pp. 1125.
    [Google Scholar]
  13. Pratt, M. L.. ( 2008), Imperial Eyes: Travel Writing and Transculturation, New York:: Routledge;.
    [Google Scholar]
  14. Rouch, J.. ( 2003;), ‘ On the vicissitudes of the self: The possessed dancer, the magician, the filmmaker, and the ethnographer. ’, in S. Feld. (ed. and trans.), Ciné-Ethnography, Minneapolis, MN:: University of Minnesota Press;, pp. 87101.
    [Google Scholar]
  15. Tierney, D.. ( 2007), Emilio Fernández: Pictures in the Margins, Manchester:: Manchester University Press;.
    [Google Scholar]
  16. Vásquez Mantecón, A.. ( 2012), El cine super 8 en México (1970–1989), Mexico City:: Filmoteca UNAM;.
    [Google Scholar]
  17. Vásquez Mantecón, A.. ( 2017;), ‘ Visual experimentation in Super-8: Mexico and Latin America. ’, in J. Lerner, and L. Piazza. (eds), Ism Ism Ism: Experimental Cinema in Latin America, Oakland, CA:: University of California Press;, pp. 2649.
    [Google Scholar]
  18. Matusiak, Thomas. ( 2021;), ‘ A jaguar in Paris: Teo Hernández’s shamanic cinema. ’, Studies in Spanish & Latin American Cinemas, 18:3, pp. 34150, https://doi.org/10.1386/slac_00060_1
    [Google Scholar]
/content/journals/10.1386/slac_00060_1
Loading
  • Article Type: Article
Keyword(s): affect; exile; experimental cinema; France; intermediality; Mexico
This is a required field
Please enter a valid email address
Approval was a success
Invalid data
An error occurred
Approval was partially successful, following selected items could not be processed due to error