Los límites de la subjetividad en la vanguardia documental japonesa: el caso de Hōryūji (Susumu Hani, 1958)

espanolEste articulo pretende contribuir al redescubrimiento de la vanguardia documental japonesa a traves de la figura de Susumu Hani (1928- ), quien tuvo un papel clave tanto por su aportacion teorica como practica. Hōryūji (1958) representa una las propuestas mas atrevidas para desarrollar la subjetividad entre los cineastas de la nueva a izquierda. Este singular documental debe entenderse a la luz de los escritos donde Hani afirma que es posible acceder a subjetividades ajenas al director a traves de ciertos tipos de “protagonistas que no actuan”. EnglishThis essay seeks to participate in the rediscovery of the Japanese documentary avant-garde through the figure of Susumu Hani (1928- ), who had a key role for both his theoretical and practical contributions. Hōryūji (1958) represents one of the boldest attempts to develop subjectgivity among new left filmmakers. This unique documentary must be assessed in light of the writings in which Hani stated that it was possible to access subjectivities alien to that of the director through several kind of “protagonists who do not act”