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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.
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 LondonJulián Daniel Gutiérrez-Albilla is an Associate Professor in the Departments of Spanish and Portuguese and Comparative Literature at the University of Southern California
Introduction – Parvati Nair and Julián Daniel Gutiérrez-Albilla1. Transnational co-productions and female filmmakers: the cases of Lucrecia Martel and Isabel Coixet – Paul Julian SmithPart I: Memory and History2. Lost and invisible: a history of Latin American women filmmakers – Patricia Torres San Martín3. Feminine spaces of memory: mourning and melodrama in Para que no me olvides (2005) by Patricia Ferreira – Isolina Ballesteros4. Women filmmakers and citizenship in Brazil from Bossa Nova to the Retomada – Catherine Benamou and Leslie Marsh5. Ana Mariscal: signature, event, context – Steven Marsh6. Rosario Pi and the challenge of social and cinematic conventions during the Second Republic – Alejandro Melero Salvador7. Deterritorialised intimacies: The documentary legacy of Sara Gómez in three contemporary women filmmakers – María Caridad Cumana González and Susan LordPart II: Culture and conflict8. Ana Díez: Basque cinema, gender and the (home)land – Ann Davies9. Slipping discursive frameworks: gender (and) politics in Colombian women’s documentary – Deborah Martin10. The 'poetics of transformation' in the works of Lourdes Portillo – Rosa Linda FregosoPart III: Migration, transnationalism and borders11. A disjunctive order: place and space in Isabel Coixet’s The Secret Life of Words (2005) – Helena López12. Reconfiguring the rural: fettered geographies, unsettled histories and the abyss of alienation in the work of Spanish women filmmakers – Parvati Nair13. Tracing the border: the “frontier condition” in María Novaro’s Sin dejar huella – Sofía Ruiz-AlfaroPart 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 Gleghorn15. Filming in the feminine: subjective realism, social disintegration and bodily affection in Lucrecia Martel’s La ciénaga (2001) – Julián Daniel Gutiérrez-Albilla16. Everything to play for: renegotiating Chilean identity in Alicia Scherson’s Play (2005) – Sarah Wright17. The politics of pathos in Pilar Miró’s Gary Cooper, que estás en los cielos (1980) – Tom Whittaker18. Icíar Bollaín’s 'Carte de Tendre': mapping female subjectivity for the turn of the millennium – Jo Evans19. Murmuring another ('s) story: histories under the sign of the feminine, pre- and post- the Portuguese Revolution of 1974 – Rui Gonçalves Miranda
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
