Latin American Women's Political Documentary: Practices and Aesthetics 1975-1990

这项以实践为基础的研究旨在通过对1975年至1990年拉丁美洲妇女政治纪录片的重新审视来重现历史，并通过以实践为基础的方法将这些电影与现在联系起来。从20世纪60年代开始，不同拉美国家的电影制片人开始将电影作为一种政治工具，这导致了一种新的政治和社会承诺的纪录片传统的出现，以及被称为新拉美电影的电影运动。从20世纪70年代开始，越来越多的女性电影制作人也开始制作纪录片，这些纪录片适应、偏离并最终多样化了这场电影运动的实践和美学。然而，她们对纪录片重新定义的贡献仍然被掩盖，她们对女性(纪录片)电影的遗产在很大程度上被忽视了。在女性主义电影理论、纪录片研究和拉美电影研究的交汇处，这项研究提供了一个重新审视和重写拉美纪录片历史的新视角。我的假设是，从1975年到1990年，拉丁美洲的女性纪录片电影通过三个主要类别展开，并演变为拉美电影中的一个作品语料库。我认为，女性纪录片是从对立的电影中产生的，是由女权主义运动塑造的，是由跨国范式重新定义的。最终，这些电影提出了关于女性压迫和性别不平等的问题，这些问题在整个社会中都得到了讨论。这项研究的实践部分在于制作一部简短的纪录片，探索关于表征的想法，并实施我论文中讨论的实践和美学。这部纪录片的灵感来自我的一些案例研究，例如拉丁美洲女性Third Cinema电影制片人Marta Rodriguez、Maria Barea以及墨西哥和哥伦比亚的Cine-Mujer集体的工作，涉及合作过程如何挑战非虚构电影中代表和调解女性主题的传统方式。

This practice-based research aims to recapture history through the re-vision of Latin American women's political documentary from 1975 to 1990, and connect those films to the present through a practice-based approach. From the 1960s, filmmakers in different Latin American countries began using cinema as a political tool, which led to the emergence of a new politically and socially committed documentary tradition and the film movement known as the New Latin American Cinema. From the 1970s, an increasing number of women filmmakers also began making documentaries that fitted into, diverted from, and ultimately diversified the practices and aesthetics of this film movement. Yet their contributions to its redefinition continue to be overshadowed, and their legacy to women's (documentary) cinema largely overlooked. Working at the intersection between feminist film theory, documentary studies, and Latin American film studies, this research provides a new lens through which to revisit and rewrite the history of the Latin American documentary. My hypothesis is that women's documentary cinema in Latin America from 1975 to 1990 unfolded through three main categories and evolved into a corpus of work within the Latin American cinema. I will argue that women's documentary cinema emerged from the oppositional cinema, was shaped by feminist movements, and was redefined by transnational paradigms. Ultimately, these films raised questions about women's oppression and gender inequality that were discussed in society at large. The practical component of this research consists in making a short documentary that explores ideas about representation, and implements practices and aesthetics discussed in my thesis. The documentary is inspired by some of my case-studies, such as the work of Latin American women Third Cinema filmmakers Marta Rodriguez, Maria Barea, and the Cine-Mujer collectives of Mexico and Colombia, in relation to how collaborative processes can challenge conventional ways of representing and mediating female subjects in non-fiction films.