Formas de mirar / formas de hacer: de la cámara al cuerpo

Abstract

From The camera man, by Dziga Vertov, to recording technique through the camera-body developed by contemporary choreography and video filming, this article proposes a journey through different images of camera men and women. From a scenic perspective analysis, recording scenarios are compared in three historical moments: The camera-operator at the time of montage claim as their own language of film, the camera in first person following the direct cinema of Jonas Mekas and Robert Kramer, and the camera-body in the work of Olga Mesa and La Ribot, and the video work The decline of fear, by the collective Producer of Social Communication.