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

我们的项目将通过关注编辑、服装设计和制作管理等底层角色，并关注这些角色在电影和电视中交错的方式，首次对20世纪70年代在葡萄牙和西班牙工业中工作的女性进行“自下而上”的描述。我们关注的是20世纪70年代，当时法西斯独裁统治在两个政治背景下的结束塑造了葡萄牙和西班牙，两国在生产上具有可比性，但远非相同。葡萄牙的独裁统治被非洲殖民战争引发的左翼政变推翻，而西班牙的过渡是在佛朗哥在床上去世后谈判达成的。随后，两国都修改了法律，允许妇女外出工作，而在这一点上，她们大量加入了至关重要的线下电影和电视专业。事实上，有些角色，如编辑和选角，几乎完全由女性扮演。底线以下的工作通常被认为是可以替代的，它们对完成的电影或电视节目的贡献几乎不值得注意。虽然学者们已经注意到了在这一时期担任第一线以上角色的极少数女性，但我们将更多地研究提供这些替代形式的低调领导的女性。到目前为止，它们没有被学者们注意到，因为线上的角色，特别是在电影中的角色，赋予了声誉，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关键跨国层面添加到当今世界范围内关于电影和电视行业女性的辩论中，主要是英语国家的辩论。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，增加世界电影中关于妇女的跨文化知识。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挑选了6部目前对讲英语的观众无法接触的20世纪70年代的关键女权主义电影。我们将获得版权，将它们首次翻译成英文字幕，使它们可以自由流媒体，并向广大公众放映。这将使接触世界文化的途径民主化，增加跨文化知识，并使葡萄牙和西班牙电影能够更充分地成为当前关于电影和女权主义的#MeToo辩论的一部分。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国家电影节和西班牙Cine y Education ación(学院)合作来吸引未来的专业人员，这两个部门都是教育部的学校项目。通过放映、圆桌会议和研讨会，我们将使20世纪70年代的关键十年引起当代人的注意，并解决这样一个问题，即尽管葡萄牙和西班牙的大学系有大约65%的女性参与媒体研究，但在仍然抵制她们加入的行业中，女性参与的比例只有20%。通过支持仍然在很大程度上看不见的线下角色的领先女性，包括在电视中，我们参与了更广泛的辩论，以及具体的女权主义激进主义运动，包括西班牙女性电影制作人协会、CIMA的#MasmuJeres和总部设在柏林的Proquote-电影组织，促进行业所有领域的女性能力。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，该项目将产生两本合著的研究专著、两卷编辑的访谈、一次项目会议(已出版会议记录)和一次与1974年葡萄牙革命纪念活动有关的会议(附一份期刊特刊)。此外，它还将在英国、葡萄牙和西班牙的9个电影节上传播6部带字幕的电影和一系列提高意识的活动，包括我们的合作伙伴电影节Viva，由Home(曼彻斯特)策划。

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).