Cuaderno
Un archivo vagabundo: Herbert Kline y los itinerarios transnacionales del antifascismo cinematográfico
Publicado 01.07.2022
Palabras clave
- Herbert Kline,
- cine,
- antifascismo,
- internacionalismo,
- archivo.
Resumen
Este artículo examina la itinerancia transnacional de Herbert Kline, cineasta estadounidense antifascista cuya carrera se extiende desde la década de 1930 hasta mediados de 1980. A lo largo de cinco décadas, Kline se desplazó por Europa, Estados Unidos, Palestina y América Latina, siguiendo el impulso de combatir el nazismo y el fascismo y promover la democracia radical a través de su práctica cinematográfica. Partiendo de las teorizaciones de Naficy y Marks sobre el cine de la diáspora y el exilio, pero eludiendo el enfoque autoral, tomamos la autodefinición de Kline como cineasta vagabundo para dar cuenta de una obra enormemente heterogénea y discontinua que comprende documentales y ficciones, películas finalizadas y otras incompletas, así como proyectos que nunca se desarrollaron. Por lo demás, el artículo propone que el estudio de un cineasta como Kline requiere de una investigación metodológica múltiple y compleja para poder dar cumplida cuenta de lo que denominamos el archivo vagabundo del cineasta.
Citas
<p>American Film Institute (2019a). The Challenge... A Tribute to Modern Art. <em>The AFI Catalog of Feature Films</em>. Recuperado de https://aficatalog.afi.com/<br>
American Film Institute (2019b). The Fighter.<em> The AFI Catalog of Feature Films</em>. Recuperado de https://aficatalog.afi.com/<br>
Benamou, C. L. (2007). <em>It’s All True: Orson Welles’ Pan-American Odyssey</em>. Berkeley: University of California Press.<br>
Cook, C., Maloney, R. (1939, 14 April). Kline’s Coup. The New Yorker, p. 11.<br>
Denning, M. (2011). <em>The Cultural Front. The Laboring of American Culture in the Twentieth Century</em>. Londres: Verso.<br>
Elsaesser, T. (2004). The New Film History as Media Archaeology. <em>Cinémas: revue d’études cinématographiques/Cinémas: Journal of Film Studies</em>, <em>14</em>(2-3), 75-117. https://doi.org/10.7202/026005ar <br>
Frick, C. (2011). <em>Saving Cinema: The Politics of Preservation.</em> Oxford: Oxford University Press.<br>
García López, S. (2013). <em>Spain is US. La Guerra Civil española en el cine del Popular Front (1936-1939)</em>. Valencia: Universitat de València.<br>
Geidel, M. (2019). Cinema and Spectators of International Development. <em>European Journal of American Studies</em>, <em>14</em>(4), 1-20. https://doi.org/10.4000/ejas.15440<br>
<em>Herbert Kline. </em>2019. Recuperado de https://catalog.afi.com/Person/70034-Herbert-Kline?isMiscCredit=False <br>
Hagener, M. (2014). Institutions of Film Culture: Festivals and Archives as Network Nodes. En M. Hagener (ed.), <em>The Emergence of Film Culture. Knowledge, Production, Institution Building and the Fate of the Avant-Garde in Europe, 1919-1945 </em>(pp. 283-305). Nueva York: Berghahn.<br>
Jueves de Excélsior (1942, 29 de octubre). Lumiere dice... <em>Jueves de Excélsior</em>, p. 38.<br>
Kline, H. (1937a). Carta sin destinatario identificado, 3 de enero. Spanish Refugee Relief Association Records, MS# 1181 Part B Box 16; Rare Book and Manuscript Library, Columbia University Library.<br>
Kline, H. (1939). <em>A Film of Brazil... and the Argentine</em>, Film Treatment, Latin American Project. Herbert Kline papers (2016.391.1), United States Holocaust Memorial Museum Archives, Washington, DC.<br>
Kline, H. (1940, 12 de julio). Down Mexico Way: Report from a Documentary Unit Now Filming Below the Border. <em>New York Times</em>, p. X4.<br>
Kline, H. (1941, mayo). «The Forgotten Village»: An Account of Film Making in Mexico. <em>Theatre Arts</em>, <em>25</em>(5), 336-343.<br>
Kline, H. (1983). Carta a Angélica Arenal, 15 de febrero. INBAL / Proyecto Siqueiros: SAPS-LT / CIDS.<br>
Kline, H. (1985). <em>New Theatre and Film, 1934 to 1937: An Anthology</em>. Nueva York: Harcourt Brace Jovanovich.<br>
Kline, H. (s. f.). <em>Misadventures of a Film Gypsy</em>, manuscrito. Herbert Kline Papers, Special Collections Research Center, Box 2, Syracuse University Libraries.<br>
Marcus, H. H. (2015). <em>Schoenberg and Hollywood Modernism</em>. Cambridge: Cambridge University Press.<br>
Marks, L. U. (2000). <em>The Skin of the Film: Intercultural Cinema, Embodiment, and the Senses</em>. Durham: Duke University Press.<br>
Miranda López, R. (2010). La mirada de los otros: el cine extranjero de la Revolución mexicana. En P. Ortiz Monasterio (ed.), <em>Cine y revolución: La revolución mexicana vista a través del cine</em> (pp. 183-205). México DF: Instituto Mexicano de Cinematografía/Cineteca Nacional.<br>
Motion Picture Daily (1943, 9 de julio). Kline is in Mexico for ‘The Mexican’. <em>Motion Picture Daily</em>, p. 6<br>
Naficy, H. (2001). <em>An Accented Cinema: Exilic and Diasporic Filmmaking</em>. Princeton: Princeton University Press.<br>
New York University Libraries (2021a). <em>About Tamiment</em>. Recuperado de https://guides.nyu.edu/tamimentlibrary/about-tamiment <br>
New York University Libraries (2021b). <em>Abraham Lincoln Brigade Archives</em>. Recuperado de https://guides.nyu.edu/tamimentlibrary/alba <br>
Nugent, F. S. (1939, 13 de marzo). «Crisis», Herbert Kline’s Brilliant Documentary of the Sudeten, Shown at 55th Street Playhouse. <em>The New York Times</em>, p. 17.<br>
Pineda Franco, A. (2019). <em>The Mexican Revolution on the World Stage: Intellectuals and Film in the Twentieth Century</em>. Albany: State University of New York Press.<br>
Ramírez, G. (1992). <em>Norman Foster y los otros, directores norteamericanos en México</em>. México DF: Universidad Nacional Autónoma de México.<br>
Segal, A. (1981). Entretien avec Joris Ivens. <em>L’Avant-Scène du Cinéma,</em>
<em>259-260</em>, 1-15.<br>
Slide, A. (1992). <em>Nitrate Won’t Wait: A History of Film Preservation in the United States</em>. Jefferson: McFarland & Company.<br>
<em>Spanish Refugee Relief Association Records, 1935-1957</em> (2021). Recuperado de http://www.columbia.edu/cu/lweb/archival/collections/ldpd_4079355/ <br>
The Architectural Digest (1963, marzo). The Lytton Center for Visual Arts, Hollywood, California. <em>The Architectural Digest</em>, 136-142.<br>
USHMM (2021a). <em>About the Museum. A Living Memorial of the Holocaust. </em>Recuperado de https://www.ushmm.org/information/about-the-museum <br>
USHMM (2021b). <em>Academic Research</em>. 2021. Recuperado de https://www.ushmm.org/research <br>
Vallance, T. (1999, 18 de febrero). Herbert Kline. <em>Independent Review</em>, p. 6.<br>
Wasson, H., Acland, C. (2011). <em>Useful Cinema</em>. Durham: Duke University Press.<br>
Wood, D. M. J. (2020). Docudrama for the Emerging Post-War Order: Documentary Film, Internationalism and Indigenous Subjects in 1950s Mexico. <em>Studies in Spanish & Latin American Cinemas</em>, <em>17</em>(2), 193-208. https://doi.org/10.1386/slac_00018_1</p>
American Film Institute (2019b). The Fighter.<em> The AFI Catalog of Feature Films</em>. Recuperado de https://aficatalog.afi.com/<br>
Benamou, C. L. (2007). <em>It’s All True: Orson Welles’ Pan-American Odyssey</em>. Berkeley: University of California Press.<br>
Cook, C., Maloney, R. (1939, 14 April). Kline’s Coup. The New Yorker, p. 11.<br>
Denning, M. (2011). <em>The Cultural Front. The Laboring of American Culture in the Twentieth Century</em>. Londres: Verso.<br>
Elsaesser, T. (2004). The New Film History as Media Archaeology. <em>Cinémas: revue d’études cinématographiques/Cinémas: Journal of Film Studies</em>, <em>14</em>(2-3), 75-117. https://doi.org/10.7202/026005ar <br>
Frick, C. (2011). <em>Saving Cinema: The Politics of Preservation.</em> Oxford: Oxford University Press.<br>
García López, S. (2013). <em>Spain is US. La Guerra Civil española en el cine del Popular Front (1936-1939)</em>. Valencia: Universitat de València.<br>
Geidel, M. (2019). Cinema and Spectators of International Development. <em>European Journal of American Studies</em>, <em>14</em>(4), 1-20. https://doi.org/10.4000/ejas.15440<br>
<em>Herbert Kline. </em>2019. Recuperado de https://catalog.afi.com/Person/70034-Herbert-Kline?isMiscCredit=False <br>
Hagener, M. (2014). Institutions of Film Culture: Festivals and Archives as Network Nodes. En M. Hagener (ed.), <em>The Emergence of Film Culture. Knowledge, Production, Institution Building and the Fate of the Avant-Garde in Europe, 1919-1945 </em>(pp. 283-305). Nueva York: Berghahn.<br>
Jueves de Excélsior (1942, 29 de octubre). Lumiere dice... <em>Jueves de Excélsior</em>, p. 38.<br>
Kline, H. (1937a). Carta sin destinatario identificado, 3 de enero. Spanish Refugee Relief Association Records, MS# 1181 Part B Box 16; Rare Book and Manuscript Library, Columbia University Library.<br>
Kline, H. (1939). <em>A Film of Brazil... and the Argentine</em>, Film Treatment, Latin American Project. Herbert Kline papers (2016.391.1), United States Holocaust Memorial Museum Archives, Washington, DC.<br>
Kline, H. (1940, 12 de julio). Down Mexico Way: Report from a Documentary Unit Now Filming Below the Border. <em>New York Times</em>, p. X4.<br>
Kline, H. (1941, mayo). «The Forgotten Village»: An Account of Film Making in Mexico. <em>Theatre Arts</em>, <em>25</em>(5), 336-343.<br>
Kline, H. (1983). Carta a Angélica Arenal, 15 de febrero. INBAL / Proyecto Siqueiros: SAPS-LT / CIDS.<br>
Kline, H. (1985). <em>New Theatre and Film, 1934 to 1937: An Anthology</em>. Nueva York: Harcourt Brace Jovanovich.<br>
Kline, H. (s. f.). <em>Misadventures of a Film Gypsy</em>, manuscrito. Herbert Kline Papers, Special Collections Research Center, Box 2, Syracuse University Libraries.<br>
Marcus, H. H. (2015). <em>Schoenberg and Hollywood Modernism</em>. Cambridge: Cambridge University Press.<br>
Marks, L. U. (2000). <em>The Skin of the Film: Intercultural Cinema, Embodiment, and the Senses</em>. Durham: Duke University Press.<br>
Miranda López, R. (2010). La mirada de los otros: el cine extranjero de la Revolución mexicana. En P. Ortiz Monasterio (ed.), <em>Cine y revolución: La revolución mexicana vista a través del cine</em> (pp. 183-205). México DF: Instituto Mexicano de Cinematografía/Cineteca Nacional.<br>
Motion Picture Daily (1943, 9 de julio). Kline is in Mexico for ‘The Mexican’. <em>Motion Picture Daily</em>, p. 6<br>
Naficy, H. (2001). <em>An Accented Cinema: Exilic and Diasporic Filmmaking</em>. Princeton: Princeton University Press.<br>
New York University Libraries (2021a). <em>About Tamiment</em>. Recuperado de https://guides.nyu.edu/tamimentlibrary/about-tamiment <br>
New York University Libraries (2021b). <em>Abraham Lincoln Brigade Archives</em>. Recuperado de https://guides.nyu.edu/tamimentlibrary/alba <br>
Nugent, F. S. (1939, 13 de marzo). «Crisis», Herbert Kline’s Brilliant Documentary of the Sudeten, Shown at 55th Street Playhouse. <em>The New York Times</em>, p. 17.<br>
Pineda Franco, A. (2019). <em>The Mexican Revolution on the World Stage: Intellectuals and Film in the Twentieth Century</em>. Albany: State University of New York Press.<br>
Ramírez, G. (1992). <em>Norman Foster y los otros, directores norteamericanos en México</em>. México DF: Universidad Nacional Autónoma de México.<br>
Segal, A. (1981). Entretien avec Joris Ivens. <em>L’Avant-Scène du Cinéma,</em>
<em>259-260</em>, 1-15.<br>
Slide, A. (1992). <em>Nitrate Won’t Wait: A History of Film Preservation in the United States</em>. Jefferson: McFarland & Company.<br>
<em>Spanish Refugee Relief Association Records, 1935-1957</em> (2021). Recuperado de http://www.columbia.edu/cu/lweb/archival/collections/ldpd_4079355/ <br>
The Architectural Digest (1963, marzo). The Lytton Center for Visual Arts, Hollywood, California. <em>The Architectural Digest</em>, 136-142.<br>
USHMM (2021a). <em>About the Museum. A Living Memorial of the Holocaust. </em>Recuperado de https://www.ushmm.org/information/about-the-museum <br>
USHMM (2021b). <em>Academic Research</em>. 2021. Recuperado de https://www.ushmm.org/research <br>
Vallance, T. (1999, 18 de febrero). Herbert Kline. <em>Independent Review</em>, p. 6.<br>
Wasson, H., Acland, C. (2011). <em>Useful Cinema</em>. Durham: Duke University Press.<br>
Wood, D. M. J. (2020). Docudrama for the Emerging Post-War Order: Documentary Film, Internationalism and Indigenous Subjects in 1950s Mexico. <em>Studies in Spanish & Latin American Cinemas</em>, <em>17</em>(2), 193-208. https://doi.org/10.1386/slac_00018_1</p>