Capa: Ana Catarina Pereira (2016) The Woman-Filmmaker: From art for art’s sake to a differentiation aesthetic  . Communication  +  Philosophy  +  Humanities. .
The Woman-Filmmaker: From art for art’s sake to a differentiation aesthetic

by Ana Catarina Pereira

Collection: Ars
Series:
Year of edition: 2016
ISBN: 978-989-654-278-8
Price of the print edition: € 13   Order


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Synopsis

The feminist movements not only invented new strategies or new lexicons, but, more important, conceived a new social subject, women: not just as readers, viewers and consumers of cultural objects, but also as writers, directors and producers of those cultural objects. The focus in the Portuguese cinema directed by women corresponded, thus, to the study of a double invisibility: one that goes beyond the consecration of some names, but also the antagonistic interest of the general public. Noting that the Portuguese woman filmmakers have only held 14% of the fiction feature films premiered commercially over the past three decades, one advocate positive discrimination measures, such as the inclusion of shares in the entrusting of funds and the creation of a women's film festival in Portugal.



Index

Preface - 9

Introduction - 11


Part I Theory  - 15

Chapter 1 - Human Rights and Feminism(s)  - 17
Historicity of human rights - 17
First attempts of jurisdiction - 23
The first moving images - 28
The first women filmmakers - 33

Chapter 2 - The second wave of a beauvoirian feminism - 39
Europe in the fifties  - 39
The construction of a feminist lexicon - 48
Winds of change in post-Second sex and its influence on the seventh art - 52
Women are messed over, not messed up”  - 58
When the private sphere becomes political - 61
The first international feminist cause - 63 

Chapter 3 - The weakness of the right to equality in democratic societies - 73
Concept "equality" in Norberto Bobbio - 73
Justice rule - 76
Implementation systems of the right to equality - 80
Oppression as a mechanism generator of social inequality - 83

Chapter 4 - Art and politics: the woman seen as the other - 89
Movies that preserve prejudice - 89
Distant images - 93
The look of Laura Mulvey - 99
A political cinema - 110 

Chapter 5 - The female psyche in a male cinema - 113
The sensitive - 113
The sexualized - 118 

Chapter 6 – From the universal spectator to the passivity of the woman who watches - 125
The universal viewer - 125
The identification process of the female spectator - 129
The undefined spectator - 135
The mechanism of images creation - 138
Changing the dominant cinema - 141
The female spectator’s non-place - 145
Women's film festivals worldwide - 147 

Chapter 7 - The unbearable lightness of a definition: is there a female aesthetic? - 151
Oblivion and subversion - 152
Female Cinema versus male cinema - 154
The feminist art (and cinema) as a political weapon - 162
Text and context  - 168 

Part II - Methodology - 173

Chapter 8 - The strange case of the Portuguese cinema - 175
The female precursors - 175
The films made - 180
Shooting in democracy - 187
Comparative data - 196
Methodologies and drawing of a research - 199 

Part III – Empiria - 221

Chapter 9 - Female adultery through the look of Monique Rutler: The discreet charm of a Republican and false-moralist bourgeois - 223
Socially incorrect - 224
A movie unapologetically feminist - 228
Monique Rutler’s look on Portugal - 233
Sins of an adultery in the feminin - 239
Final considerations about Solo de Violino - 246

Chapter 10 - Cláudia Tomaz’s nihilism: the eternal-return to a Portuguese cinema centred on human miserabilism - 249
Breathtaking images - 250
The influences of Teresa Villaverde and Pedro Costa - 257
Nihilism and eternal return - 263
The female passivity - 266
The evolution in Cláudia Tomaz’s cinematographic route - 272

Chapter 11 - Solveig Nordlund film-rehearsals: Holograms of a near future in which feminism and tolerance lead to a paradigm shift - 277
J. G. Ballard and Solveig Nordlund: The writer and the director of utopia in the Postmodernity chaos - 278
The feminization of an essentially masculine tale -  281
Fear as a governance instrument - 288
The female authors that have marked the evolution of a genus - 294
The future of science fiction - 302
The refusal of a futuristic androgyny - 306
The eternal search for an inclusive feminism - 309 

Chapter 12 - The feminism ghost in Catarina Ruivo’s work - 317
"The I is you" - 318
Inequalities that persist - 321
The urgency of happiness and the absence of limits - 330
The indelible presence of Virginia Woolf in Daqui p’rá frente - 334 

Final considerations - 341

Annexes - 351

 

Bibliographic references - 357

Support:
Fundação para a Ciência e a Tecnologia
União Europeia
Quadro de Referência Estratégico Nacional
Programa Operacional Factores de Competitividade
Universidade da Beira Interior