Hispanic and Lusophone women filmmakers : theory, practice and difference /
"This volume examines the films of Hispanic and Lusophone women filmmakers from the 1930s to the present day. This edited collection establishes productive connections between film practices across these geographical areas by identifying common areas of concern on the part of these female filmm...
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| Other Authors / Creators: | Nair, Parvati, editor. Gutiérrez-Albilla, Julián Daniel, editor. |
|---|---|
| Format: | Book |
| Language: | English |
| Imprint: | Manchester, UK ; New York, NY : Manchester University Press, 2013. |
| Subjects: |
Table of Contents:
- Notes on contributors
- Acknowledgements
- Introduction: through feminine eyes
- 1. Transnational co-productions and female filmmakers: the cases of Lucrecia Martel and Isabel Coixet
- Part I. Memory and history
- 2. Lost and invisible: a history of Latin American women filmmakers
- 3. Feminine spaces of memory: mourning and melodrama in Para que no me olvides (2005) by Patricia Ferreira
- 4. Women filmmakers and citizenship in Brazil, from Bossa Nova to the retomada
- 5. Ana Mariscal: signature, event, context
- 6. Rosario Pi and the challenge of social and cinematic conventions during the Second Republic
- 7. Deterritorialised intimacies: the documentary legacy of Sara Gómez in three contemporary Cuban women filmmakers
- Part II. Culture and conflict
- 8. Ana Díez: Basque cinema, gender and the home(land)
- 9. Slipping discursive frameworks: gender (and) politics in Colombian women's documentary
- 10. The 'poetics of transformation' in the works of Lourdes Portillo
- Part III. Migration, transnationalism and borders
- 11. A disjunctive order: place, space and the gendered body in Isabel Coixet's The Secret Life of Words (2005)
- 12. Reconfiguring the rural: fettered geographies, unsettled histories and the abyss of alienation in the work of three Spanish women filmmakers
- 13. Tracing the border: the 'frontier condition' in María Novaro's Sin dejar huella
- 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)
- 15. Filming in the feminine: subjective realism, social disintegration and bodily affection in Lucrecia Marrel's La ciénaga (2001)
- 16. Everything to play for: renegotiating Chilean identity in Alicia Scherson's Play (2005)
- 17. The politics of pathos in Pilar Miró's Gary Cooper, que estás en los cielos (1980)
- 18. Icíar Bollaín's 'Carte de Tendre': mapping female subjectivity for the turn of the millennium
- 19. Murmuring another('s) story: histories under the sign of the feminine, pre- and post- the Portuguese revolution of 1974
- Index