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, 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 disjunctio...
Gespeichert in:
| Weitere Verfasser: | , |
|---|---|
| Format: | Elektronisch E-Book |
| Sprache: | English |
| Veröffentlicht: |
Manchester, UK
Manchester University Press
2019
©2012 |
| Online-Zugang: | FKWA1 |
| Zusammenfassung: | '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 emerging and internationally renowned 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' --Back cover This volume examines the films of Hispanic and Lusophone women filmmakers from the 1930s to the present day. It establishes productive connections between film practices across these geographical areas by identifying common areas of concern on the part of these female filmmakers. Focusing on aesthetic, theoretical and socio-historical analyses, it questions the manifest or latent gender and sexual politics that inform and structure the emerging cinematic productions by women filmmakers in Portugal, Spain, Latin America and the US. With a combination of scholars from the UK, the US, Spain and Latin America, the volume documents and interprets a fascinating corpus of films made by Hispanic and Lusophone women and proposes research strategies and methodologies that can expand our understanding of socio-cultural and psychic constructions of gender and sexual politics. An essential resource to rethink notions of gender identity and subjectivity, it is a unique contribution to Spanish and Latin American Film Studies and Film Studies |
| Beschreibung: | Includes bibliographical references and index |
| Beschreibung: | 1 online resource (xii, 282 pages) digital, PDF file(s) |
| ISBN: | 9781526141477 |
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| 245 | 1 | 0 | |a Hispanic and Lusophone women filmmakers |b theory, practice and difference |c edited by Parvati Nair and Julián Daniel Gutiérrez-Albilla |
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| 500 | |a Includes bibliographical references and index | ||
| 505 | 0 | |a Introduction / Parvati Nair and Julián Daniel Gutiérrez-Albilla --1. Transnational co-productions and female filmmaker -- 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. | |
| 505 | 0 | |a Ana Díe -- 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. | |
| 505 | 0 | |a Filming in the feminin -- 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 | |
| 520 | |a '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 emerging and internationally renowned 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' --Back cover | ||
| 520 | |a This volume examines the films of Hispanic and Lusophone women filmmakers from the 1930s to the present day. It establishes productive connections between film practices across these geographical areas by identifying common areas of concern on the part of these female filmmakers. Focusing on aesthetic, theoretical and socio-historical analyses, it questions the manifest or latent gender and sexual politics that inform and structure the emerging cinematic productions by women filmmakers in Portugal, Spain, Latin America and the US. With a combination of scholars from the UK, the US, Spain and Latin America, the volume documents and interprets a fascinating corpus of films made by Hispanic and Lusophone women and proposes research strategies and methodologies that can expand our understanding of socio-cultural and psychic constructions of gender and sexual politics. An essential resource to rethink notions of gender identity and subjectivity, it is a unique contribution to Spanish and Latin American Film Studies and Film Studies | ||
| 700 | 1 | |a Nair, Parvati |4 edt | |
| 700 | 1 | |a Gutiérrez-Albilla, Julián Daniel |4 edt | |
| 710 | 2 | |a Manchester University Press |e Sonstige |4 oth | |
| 999 | |a oai:aleph.bib-bvb.de:BVB01-034668812 | ||
| 966 | e | |u https://dx.doi.org/10.7765/9781526141477 |3 Volltext |l FKWA1 | |
Datensatz im Suchindex
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| author_facet | Nair, Parvati Gutiérrez-Albilla, Julián Daniel |
| building | Verbundindex |
| bvnumber | BV048724631 |
| contents | Introduction / Parvati Nair and Julián Daniel Gutiérrez-Albilla --1. Transnational co-productions and female filmmaker -- 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 Díe -- 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 feminin -- 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 |
| ctrlnum | (DE-599)BVBBV048724631 |
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| id | DE-604.BV048724631 |
| illustrated | Not Illustrated |
| index_date | 2024-07-03T22:57:05Z |
| indexdate | 2024-07-10T10:04:19Z |
| institution | BVB |
| isbn | 9781526141477 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-034668812 |
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| physical | 1 online resource (xii, 282 pages) digital, PDF file(s) |
| publishDate | 2019 2012 |
| publishDateSearch | 2019 |
| publishDateSort | 2019 |
| publisher | Manchester University Press |
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| spelling | Hispanic and Lusophone women filmmakers theory, practice and difference edited by Parvati Nair and Julián Daniel Gutiérrez-Albilla Manchester, UK Manchester University Press 2019 ©2012 1 online resource (xii, 282 pages) digital, PDF file(s) txt rdacontent c rdamedia cr rdacarrier Includes bibliographical references and index Introduction / Parvati Nair and Julián Daniel Gutiérrez-Albilla --1. Transnational co-productions and female filmmaker -- 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 Díe -- 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 feminin -- 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 '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 emerging and internationally renowned 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' --Back cover This volume examines the films of Hispanic and Lusophone women filmmakers from the 1930s to the present day. It establishes productive connections between film practices across these geographical areas by identifying common areas of concern on the part of these female filmmakers. Focusing on aesthetic, theoretical and socio-historical analyses, it questions the manifest or latent gender and sexual politics that inform and structure the emerging cinematic productions by women filmmakers in Portugal, Spain, Latin America and the US. With a combination of scholars from the UK, the US, Spain and Latin America, the volume documents and interprets a fascinating corpus of films made by Hispanic and Lusophone women and proposes research strategies and methodologies that can expand our understanding of socio-cultural and psychic constructions of gender and sexual politics. An essential resource to rethink notions of gender identity and subjectivity, it is a unique contribution to Spanish and Latin American Film Studies and Film Studies Nair, Parvati edt Gutiérrez-Albilla, Julián Daniel edt Manchester University Press Sonstige oth |
| spellingShingle | Hispanic and Lusophone women filmmakers theory, practice and difference Introduction / Parvati Nair and Julián Daniel Gutiérrez-Albilla --1. Transnational co-productions and female filmmaker -- 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 Díe -- 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 feminin -- 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 |
| title | Hispanic and Lusophone women filmmakers theory, practice and difference |
| title_auth | Hispanic and Lusophone women filmmakers theory, practice and difference |
| title_exact_search | Hispanic and Lusophone women filmmakers theory, practice and difference |
| title_exact_search_txtP | Hispanic and Lusophone women filmmakers theory, practice and difference |
| title_full | Hispanic and Lusophone women filmmakers theory, practice and difference edited by Parvati Nair and Julián Daniel Gutiérrez-Albilla |
| title_fullStr | Hispanic and Lusophone women filmmakers theory, practice and difference edited by Parvati Nair and Julián Daniel Gutiérrez-Albilla |
| title_full_unstemmed | Hispanic and Lusophone women filmmakers theory, practice and difference edited by Parvati Nair and Julián Daniel Gutiérrez-Albilla |
| title_short | Hispanic and Lusophone women filmmakers |
| title_sort | hispanic and lusophone women filmmakers theory practice and difference |
| title_sub | theory, practice and difference |
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