Search results

You are looking at 1 - 10 of 87 items for :

  • "citizenship" x
  • Manchester Film Studies x
Clear All

activities to mobilise others to join or collaborate in their efforts. Owing to the possibility of its circulation outside mainstream venues, small-format video was seen as especially effective in its ability to reach lower-income and regionally isolated (sometimes illiterate) audiences. Hence, video quickly played a vital role in expanding the discourses of citizenship during the 1980s. Spotlight on

in Hispanic and Lusophone women filmmakers
The documentary legacy of Sara Gómez in three contemporary Cuban women filmmakers

of cultural citizenship, diaspora, revolutionary legacy and globalisation, and they do so through what we call ‘deterritorialised intimacies’. These intimacies are afforded by their documentary practices of decolonised ethnography: a set of aesthetic and ethical documentary strategies that are expressive of historical and emotional geographies of belonging and non-belonging for the filmmaker, subject

in Hispanic and Lusophone women filmmakers
Normative masculinity and disciplined gun violence

of conveying a ‘certain image of a man, a style, which expresses itself most clearly in violence.’18 As I argue, the inverse is equally true: the Western exhibits a style of violence that expresses itself most clearly as masculinity. I contend in this chapter that the Western genre’s masculine style functions as a ‘technology of citizenship,’ a disciplinary apparatus that seeks to tame the exercise of personal gun violence. I draw the term ‘technology of citizenship’ from Barbara Cruikshank, which she defines in The Will to Empower: Democratic Citizens and Other

in Gunslinging justice

, the film seeks to appeal to our emotions. As I will show, the affective structure of Miró’s film is a particularly revealing framework for exploring the ways in which female citizenship and identity were renegotiated during the transition. Although the Spanish Constitution recognised women as ‘equal’ citizens, women were still not socially and

in Hispanic and Lusophone women filmmakers
Theory, practice and difference

While women directors continue to be a minority in most national and transnational film contexts, there are those among them who rank among the most innovative and inventive of filmmakers. Filmmaking by women becomes an important route to exploring what lies outside of and beyond the stereotype through reflexivity on violence and conflict, and through visual and narrative explorations of migration, exile, subjectivity, history or individual and collective memory. By documenting and interpreting a fascinating corpus of films made by women coming from Latin America, the US, Portugal and Spain, this book proposes research strategies and methodologies that can expand our understanding of socio-cultural and psychic constructions of gender and sexual politics. It critically examines the work of Hispanic and Lusophone female filmmakers. It 'weaves' several 'threads' by working at the intersections between feminist film theory, gender studies and film practices by women in Latin America, the US, Portugal and Spain. The book explores the transcultural connections, as well as the cultural specificities, that can be established between Spanish, Portuguese, Latin American and Latino contexts within and beyond the framework of the nation state. It suggests that the notion of home and of Basque motherland carry potentially different resonances for female directors.

this film probes the uncertain borders between official history and the effort to make sense of memory that is necessarily piecemeal. The complexities of experiencing dictatorship and then emerging into democracy also inform Catherine Benamou and Leslie Marsh’s chapter ‘Women filmmakers and citizenship in Brazil, from Bossa Nova to the retomada ’. The chapter considers the work of several women

in Hispanic and Lusophone women filmmakers
Abstract only

enduring influence should not be underestimated. A study of the way ethnicity has been represented in France in any era could be enlightening, but there are many reasons why focusing specifically on the period since the 1980s is particularly important. Events have ensured that the last three decades have been a highly charged time for debates surrounding ethnicity and the attendant areas of national identity, immigration and citizenship. They saw ethnicity placed firmly on the French political, social and cultural agenda: a place where, given its persistent ­topicality

in Representing ethnicity in contemporary French visual culture

’ and his disciples are now mingled with a motley group of dancers who include upper-class toffs, policemen, punks, and a mitred bishop. In comparing Jubilee with the ‘heritage’ films of the 1980s and with Isaac Julien’s Young Soul Rebels (1991), Jim Ellis has written interestingly about the ‘erotics of citizenship’ and the part that desire plays in establishing a national identity. 17 The sublimated

in Derek Jarman

filmic autobiography brings aural and visual elements to the fore in its construction of selfhood on the screen. Kogut’s quest to obtain a Hungarian passport reveals the family and state as key factors in defining one’s identity while pointing to the marshalling of citizenship by nation states. Los rubios uses an actress to represent the director on film, while simultaneously depicting the true Albertina Carri wielding the

in Hispanic and Lusophone women filmmakers
Chaplin (1992) and Grey Owl (1999)

certain weaknesses which undermined his public persona. Chaplin’s relationships with teenage girls, his left-wing political leanings, and his refusal to seek American citizenship led to his being despised by many of the cinema fraternity. His relationship with Joan Barry, an affair which ended in mutual loathing and Chaplin being sued for paternity, resulted in a case that was proved scientifically incorrect but was nevertheless carried by a Californian court, while his public support for socialist principles also showed him to be out of touch with the then changing

in Richard Attenborough