Cine sin cámara en la universidad: Teoría y práctica de un cine hecho a mano

Abstract

Investigating the role of film without a camera in the university context is the main reason for this article. Some of the objectives developed in the text are to identify the presence within the academy of a film practice closely associated with film experimentation; to describe the different approaches developed by teachers in a set of international faculties; to make visible the theoretical rigor and historical articulation that are displayed in these subjects; and to recognize the involvement of students when working with handmade images, conditioned by a technological device. Bringing the teaching of cinema closer to its main raw material, celluloid –at a time when it is progressively displaced from digital media– is aim of an area generally associated with free and personal cinema. Determining its relevance in the academy allows us to observe how its study and its implementation is formalized in both artistic and filmic contexts.