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Between the look (la mirada) and the Escape (la fuga): the imaging of women in Solanas' La hora de los hornos and Tangos/El exilio de Gardel

The Argentinian filmmaker Fernando Solanas (1989: 71) states in the aptly titled book on his cinema La mirada: “In film the most important element is the look. In music you have to hear and in film, like in painting, you have to work with the look.” Here, I study the evolution of Solanas’ look in gender terms in Tangos/El exilio de Gardel (1985), as the director “works” with his camera, and especially in relation to his and Octavio Getino’s La hora de los hornos (1968). I propose that Solanas’ is a consistently “masculine” look that, however, evolves in Tangos/El exilio de Gardel toward showing an “escape route” for the images of women in the film. In order to achieve this “escape,” Solanas contrasts the melancholy felt by the exiled Argentinian men with a mourning process in the women. By missing and estranging, by openly placing at a distance (extrañar), elements of their life in Argentina before exile, Solanas’ women leave Tangos/El exilio de Gardel’s filmic space and begin to follow new and vital paths. Solanas and Getino’s theory and practice of Third Cinema aesthetics form an intrinsic part of the “escape” (Solanas’ own term) created by the filmmaker’s look in 1985. In this regard, Solanas and Getino’s 1968 film, made entirely in Argentina, questioned the supposed “reality” represented in the limited space of conventional cinematic texts as products of dominant discourses. As one result, the film proposed an ideal of creating “liberated” spaces through an oppositional aesthetic. Later, in Tangos/El exilio de Gardel, from and for a Parisian community of exiled Argentinians and Uruguayans, Solanas again posited an opening of filmic space, now in terms of an escape (fuga) from “the penitentiaries of life” and toward “beauty and passion” (Solanas 1989: 244). It is precisely an idealized beauty that intrinsically links the imaging of women to that of the also imag-ined nation in both Tangos/El exilio de Gardel and La hora de los hornos. This national beauty takes, in fact, a “womanly” corporal image. In Solanas’ films, which for him are “pictorial bodies” (cuerpos pictóricos) (Solanas 1989: 83), his images convey a generalized comparison of the nation with woman. Also, a more detailed consideration of Third Cinema theory shows that Solanas’ filmic relation of woman/beauty/nation parallels his political proposal for national liberation through a radical aesthetic rupture. In 1969, in their well-known essay on Third Cinema (the theory resulting from the practice in La hora de los hornos), Solanas and Octavio Getino proposed moving from a bilingual culture