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

这项基于实践的研究旨在通过重新审视1975年至1990年拉丁美洲妇女的政治纪录片来重新捕捉历史，并通过基于实践的方法将这些电影与现在联系起来。从20世纪60年代开始，不同拉丁美洲国家的电影制片人开始将电影作为政治工具，这导致了一种新的政治和社会承诺的纪录片传统和被称为新拉丁美洲电影的电影运动的出现。从20世纪70年代开始，越来越多的女性电影制片人也开始制作纪录片，这些纪录片适合、偏离并最终使这一电影运动的实践和美学多样化。然而，她们对纪录片重新定义的贡献继续被蒙上阴影，她们对女性（纪录片）电影的遗产在很大程度上被忽视。本研究在女性主义电影理论、纪录片研究和拉丁美洲电影研究的交叉点上工作，提供了一个新的透镜，通过它来重新审视和重写拉丁美洲纪录片的历史。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，并演变成拉丁美洲电影中的一个作品集。我认为，女性纪录片是从反对派电影中产生的，是由女权主义运动塑造的，并被跨国范式重新定义。最终，这些电影提出了关于妇女受压迫和性别不平等的问题，并在整个社会中进行了讨论。本研究的实践部分包括制作一个简短的纪录片，探讨有关再现的想法，并实施我的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，例如拉丁美洲女性第三电影制片人玛尔塔罗德里格斯，玛丽亚巴雷亚，以及墨西哥和哥伦比亚的电影-妇女集体的工作，关于合作过程如何挑战传统的方式，在非小说类电影中表现和调解女性主题。

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.