Some joined the military as nurses or service personnel to help in the war effort, while others protested the war and served as draft counselors. They spoke of their duty to their families, communities, and nation to act in untraditional, but never theless feminine, ways. Some American women argued that, as mothers or sisters of soldiers and draft-age men, they held special insight into the war. Even so, some claimed to stand squarely within the boundaries of womanhood as they undertook such unusual activities. At a time of renewed feminist fervor, women stepped outside conventional gender roles by publicly speaking out, traveling to a war zone, and entering the male-dominated realm of foreign affairs. Women on all sides of the US war in Vietnam pushed for an end to the conflict. Con el análisis de Letter to Jane pretendemos mostrar cómo la irrupción de la subjetividad en la práctica cinematográfica revolucionaria posibilita la aparición de la auto-reflexión y del proceso de pensamiento definitorios del ensayo cinematográfico. Los elementos definitorios de la experiencia fílmica del grupo –la primacía del montaje, la dialéctica entre imágenes y sonidos y la relevancia del espectador como parte activa de una práctica dialogística– son los mismos que propician la forma ensayística cuando la obra se enuncia desde la subjetividad del autor. Un cine militante que surge de las circunstancias político-sociales que dieron lugar a mayo del 68 y que en el caso del cineasta se materializa mediante su participación en el Grupo Dziga Vertov. RESUMEN El presente artículo pretende mostrar cómo la consolidación de la forma cinematográfica del film-ensayo en la obra de Jean-Luc Godard es consecuencia de la evolución de su experiencia en el cinéma militant. With the analysis of Letter to Jane this paper tries to demonstrate how the irruption of subjectivity in the revolutionary cinematic practice allows the appearance of self-reflexivity and the thinking process that define the cinematic essay. The defining elements of the group’s filmic experience –the supremacy of montage, the dialectics between images and sounds and the relevance of the spectator as an active part of a dialogical practice– are the same that bring about the essayistic form when the film is enunciated from the author’s subjectivity.
This militant cinema emerges from the political and social circumstances that caused May 68 and in the case of the filmmaker is materialized through his participation in the Dziga Vertov Group. The present article aims to show how the consolidation of the cinematic form of the essay film in Jean-Luc Godard’s work is a consequence of the evolution of his experience in the cinéma militant.
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