This volume examines the films of Hispanic and Lusophone women filmmakers from the 1930s to the present, by working at the intersections between feminist film theory, gender studies and film practices by women in Latin America, the US, Portugal and Spain.
Establishing resonances and disjunctions between films made by female filmmakers on both sides of the Atlantic, this critical study both fills a gap in and extends the field of Hispanic and Lusophone Film Studies. While the work of these filmmakers is considered within the Portuguese, Spanish, Latin American and Latino contexts from which they arise, the volume establishes productive connections between film practices across these geographical areas by identifying common areas of concern on the part of the filmmakers. The volume focuses on the aesthetic, theoretical and socio-historical analyses to question the manifest or latent gender and sexual politics that inform and structure the emerging number of cinematic productions by women filmmakers in Portugal, Spain, Latin America and the US, as well as the work of important women filmmakers who have contributed to their cinematographic industries since the silent period.
With a combination of scholars from around the world, the volume documents and interprets a fascinating corpus of films and proposes research strategies and methodologies that can expand our understanding of socio-cultural and psychic constructions of gender and sexual politics. The volume is an essential resource to rethink notions of gender identity and subjectivity within national cultures and transnational frameworks that are neglected in current modes of feminist film theory within Anglo-American scholarship.
This volume examines the films of Hispanic and Lusophone women filmmakers from the 1930s to the present, by working at the intersections between feminist film theory, gender studies and film practices by women in Latin America, the US, Portugal and Spain.
Establishing resonances and disjunctions between films made by female filmmakers on both sides of the Atlantic, this critical study both fills a gap in and extends the field of Hispanic and Lusophone Film Studies. While the work of these filmmakers is considered within the Portuguese, Spanish, Latin American and Latino contexts from which they arise, the volume establishes productive connections between film practices across these geographical areas by identifying common areas of concern on the part of the filmmakers. The volume focuses on the aesthetic, theoretical and socio-historical analyses to question the manifest or latent gender and sexual politics that inform and structure the emerging number of cinematic productions by women filmmakers in Portugal, Spain, Latin America and the US, as well as the work of important women filmmakers who have contributed to their cinematographic industries since the silent period.
With a combination of scholars from around the world, the volume documents and interprets a fascinating corpus of films and proposes research strategies and methodologies that can expand our understanding of socio-cultural and psychic constructions of gender and sexual politics. The volume is an essential resource to rethink notions of gender identity and subjectivity within national cultures and transnational frameworks that are neglected in current modes of feminist film theory within Anglo-American scholarship.
Introduction – Parvati Nair and Julián Daniel
Gutiérrez-Albilla
1. Transnational co-productions and female filmmakers: the cases of
Lucrecia Martel and Isabel Coixet – Paul Julian Smith
Part I: Memory and History
2. Lost and invisible: a history of Latin American women filmmakers
– Patricia Torres San Martín
3. Feminine spaces of memory: mourning and melodrama in Para que no
me olvides (2005) by Patricia Ferreira – Isolina Ballesteros
4. Women filmmakers and citizenship in Brazil from Bossa Nova to
the Retomada – Catherine Benamou and Leslie Marsh
5. Ana Mariscal: signature, event, context – Steven Marsh
6. Rosario Pi and the challenge of social and cinematic conventions
during the Second Republic – Alejandro Melero Salvador
7. Deterritorialised intimacies: The documentary legacy of Sara
Gómez in three contemporary women filmmakers – María Caridad Cumana
González and Susan Lord
Part II: Culture and conflict
8. Ana Díez: Basque cinema, gender and the (home)land – Ann
Davies
9. Slipping discursive frameworks: gender (and) politics in
Colombian women’s documentary – Deborah Martin
10. The 'poetics of transformation' in the works of Lourdes
Portillo – Rosa Linda Fregoso
Part III: Migration, transnationalism and borders
11. A disjunctive order: place and space in Isabel Coixet’s The
Secret Life of Words (2005) – Helena López
12. Reconfiguring the rural: fettered geographies, unsettled
histories and the abyss of alienation in the work of Spanish women
filmmakers – Parvati Nair
13. Tracing the border: the “frontier condition” in María Novaro’s
Sin dejar huella – Sofía Ruiz-Alfaro
Part IV: Subjectivity
14. Genealogies of the self: (auto)biography in Sandra Kogut’s Um
passaporte húngaro (2001) and Albertina Carri’s Los rubios (2003) –
Charlotte Gleghorn
15. Filming in the feminine: subjective realism, social
disintegration and bodily affection in Lucrecia Martel’s La ciénaga
(2001) – Julián Daniel Gutiérrez-Albilla
16. Everything to play for: renegotiating Chilean identity in
Alicia Scherson’s Play (2005) – Sarah Wright
17. The politics of pathos in Pilar Miró’s Gary Cooper, que estás
en los cielos (1980) – Tom Whittaker
18. Icíar Bollaín’s 'Carte de Tendre': mapping female subjectivity
for the turn of the millennium – Jo Evans
19. Murmuring another ('s) story: histories under the sign of the
feminine, pre- and post- the Portuguese Revolution of 1974 – Rui
Gonçalves Miranda
Parvati Nair is Founding Director of the United Nations
University Institute on Globalization, Culture and Mobility in
Barcelona and Professor of Hispanic Cultural Studies at Queen Mary,
University of London
Julin Daniel Gutierrez-Albilla is an Associate Professor in the
Departments of Spanish and Portuguese and Comparative Literature at
the University of Southern California
All in all, these essays walk a virtuoso tightrope, exploring
alterity and agency high up in the air, by helping us to see all
sorts of directorial ‘slippages’, and are thus unique and valued
additions to our reading on film.
, Diane E. Marting, University of Mississippi, BSS, XCll (2015), 1
March 2015
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