Invisibles e insumisas / Invisi'veis e insubmissas: Leading Women in Portuguese and Spanish Cinema and Television, 1970-1980

Invisibles e insumisas / Invisiveis e insubmissas：1970-1980 年葡萄牙和西班牙电影电视界的杰出女性

• 批准号: AH/V011251/1
• 负责人: Sally Faulkner
• 金额: $ 103.94万
• 依托单位: UNIVERSITY OF EXETER
• 依托单位国家: 英国
• 项目类别: Research Grant
• 财政年份: 2021
• 资助国家: 英国
• 起止时间: 2021 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=AH%2FV011251%2F1
• 关键词: Invisibles; insumisas; Invisi; veis; insubmissas

Our project will produce the first ever 'history from below' account of women working in the Portuguese and Spanish industries in the 1970s, by focussing on below-the-line roles, such as editing, costume design and production management, and paying attention to the ways these roles criss-crossed between film and television. We focus on the 1970s, when the ending of fascist dictatorship in both political contexts shaped Portugal and Spain in ways that are productively comparable but far from identical. While Portugal's dictatorship was overthrown by a left-wing coup triggered by colonial war in Africa, Spain's transition was negotiated after Franco died in his bed. Subsequent legislation changes in both countries permitted women to work outside the home, and this was the point at which they joined crucial below-the-line film and television professions in significant numbers. Indeed, some roles, such as editing and casting, were performed almost exclusively by women. Below-the-line jobs are usually seen as replaceable, and their contribution to a finished film or TV programme is of little note. While scholars have already paid attention to the very few women in above-the-line roles in the period, we will examine the women who have provided these alternative forms of low-visibility leadership in greater numbers. They have so far escaped the eye of scholars, because above-the-line roles, particularly in film, confer prestige, attract international recognition and promote agency. Our project will thus also add the critical transnational dimensions of Spanish and Portuguese history to current worldwide, predominantly Anglophone, debates on women in the film and television industries today. In the context of film, our first area of impact is, therefore, increasing intercultural knowledge of women in world cinema, through subtitling, streaming and screenings. As part of the Exeter 'Subtitling World Cinema' project (SWC), we select 6 key feminist films of the 1970s from Portugal and Spain that are currently inaccessible to Anglophone audiences. We will secure copyright to subtitle them into English for the first time, make them freely streamable, and screen them to wide publics. This will democratize access to world culture, increase inter-cultural knowledge and allow Portuguese and Spanish film to be more fully part of current #metoo debates about film and feminism today. Our second area of impact, working on both film and television, will engage future professionals by working with film festivals in each country and with Portugal's Plano Nacional de Cinema, and Spain's Cine y Educación (Academia), both Department of Education projects for schools. Through screenings, roundtables and workshops, we will bring the key decade of the 1970s to the attention of the current generation and address the problem that, while there is c. 65% female participation in media studies University departments in Portugal and Spain, this yields only 20% female participation in industries that still resist their incorporation. By championing leading women in still largely invisible below-the-line roles, including in television, we engage with wider debates, and specific feminist activism campaigns including Spain's Association of Women Filmmakers, CIMA's #masmujeres and the Berlin-based Proquote-Film organization, promoting female capacity in all areas of the industry. Using archival research, oral history, film and television analysis, memory studies and comparative studies, this project will yield two co-authored research monographs, two edited volumes of interviews, one project conference (with published proceedings) and one conference linked to the commemorations of the Portuguese Revolution 1974 (with a journal special issue). Moreover, it will disseminate 6 subtitled films and a series of awareness raising events at 9 UK, Portugal and Spain festivals including our partner festival VIVA, curated by HOME (Manchester).

我们的项目将制作有史以来第一个“自下而上的历史”，记录1970年代在葡萄牙和西班牙工业中工作的妇女，重点是线下角色，如编辑、服装设计和生产管理，并注意这些角色在电影和电视之间交叉的方式。我们关注的是20世纪70年代，当时法西斯独裁统治在两种政治背景下的终结，以生产力相当但远非相同的方式塑造了葡萄牙和西班牙。当葡萄牙的独裁统治被非洲殖民战争引发的左翼政变推翻时，西班牙的过渡是在佛朗哥死在床上后谈判的。随后两国的立法修改允许妇女在家庭之外工作，这是她们大量加入关键的线下电影和电视行业的原因。事实上，有些角色，如编辑和演员，几乎完全由妇女担任。线下工作通常被视为可替代的，他们对一部完成的电影或电视节目的贡献是微不足道的。虽然学者们已经注意到这一时期担任一线以上角色的女性很少，但我们将研究更多提供这些低可见度领导的替代形式的女性。到目前为止，他们还没有被学者们所关注，因为这些一线角色，特别是在电影中，赋予了声望，吸引了国际认可，并促进了代理。因此，我们的项目还将把西班牙和葡萄牙历史的重要跨国层面添加到目前全世界主要是英语国家关于当今电影和电视行业中妇女的辩论中。因此，在电影方面，我们的第一个影响领域是通过字幕、流媒体和放映增加世界电影中妇女的跨文化知识。作为埃克塞特“字幕世界电影”项目（SWC）的一部分，我们从葡萄牙和西班牙选择了6部20世纪70年代的主要女权主义电影，这些电影目前无法向英语观众提供。我们将确保版权，首次将其字幕翻译成英文，使其可以自由流媒体播放，并向广大公众放映。这将使世界文化的获取民主化，增加跨文化知识，并使葡萄牙和西班牙电影能够更充分地参与当前关于电影和女权主义的#metoo辩论。我们的第二个影响领域是电影和电视，将通过与每个国家的电影节以及葡萄牙的国家电影计划和西班牙的电影和教育（学术界）合作，吸引未来的专业人士，这两个项目都是教育部为学校设计的。通过放映，圆桌会议和研讨会，我们将把20世纪70年代的关键十年提请当代人注意，并解决问题，虽然有c。在葡萄牙和西班牙，大学媒体研究系的女性参与率为65%，而在仍然抵制合并的行业中，女性参与率仅为20%。通过支持主要女性在很大程度上仍然看不见的线下角色，包括在电视中，我们参与更广泛的辩论，以及具体的女权主义运动，包括西班牙的女性电影制片人协会，CIMA的#masmujeres和柏林的Proquote-Film组织，促进女性在行业各个领域的能力。利用档案研究，口述历史，电影和电视分析，记忆研究和比较研究，该项目将产生两个共同撰写的研究专著，两个编辑的采访卷，一个项目会议（与出版的会议记录）和一个与1974年葡萄牙革命纪念活动有关的会议（与期刊特刊）。此外，它将在9个英国，葡萄牙和西班牙节日中传播6部字幕电影和一系列提高认识的活动，包括我们的合作伙伴节日VIVA，由HOME（曼彻斯特）策划。