Isabel Seguí
Biographic Data
| ID | 1357269 |
|---|---|
| NAME | Isabel Seguí |
| GIVEN NAMES | Isabel |
| FAMILY NAME | Seguí |
| SIGNATURE | SEGUÍ I |
| AFFILIATIONS | University of St Andrews |
| ORCID | 0000-0001-6579-1825 |
| VERIFIED | Yes |
| TOTAL WORKS | 6 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 6 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2018 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 0 |
Inter-generational/disciplinary/class film communities
Transnational efforts to rewrite the history of film production by women in the Global South have proliferated in the past few decades. A case in point is the historicization, preservation, restitution and activation of María Barea’s films, which an interdisciplinary and intergenerational group of researchers has been conducting since 2015. This article analyses the community-making dynamics of this feminist transnational preservation and recircu…
Creating the Archive for Incomplete Feminist Cinematic Narratives
María Aimaretti. Video Boliviano de los ‘80. Experiencias y memorias de una década pendiente en la ciudad de La Paz
Video Boliviano de los '80
Beatriz Palacios
Beatriz Palacios's instrumental role in the Ukamau group has been largely ignored by film historiography and criticism. The authorial persona of her comrade and husband, Jorge Sanjinés, has eclipsed Palacios's work and ideas. Her erasure is due to the perspectives chosen to analyze Ukamau (male-centered auteurist and formalist approaches) and to the almost exclusive use of the voice of Sanjinés (interviews, essays, and films interpreted in an aut…
Las mujeres del Grupo Ukamau
The Ukamau group has a long history which spans for more than sixty years. The oral accounts acknowledge that women participated in all the different phases of the group, undertaking instrumental roles in front of and behind the camera. However, they have been overshadowed and erased from the official history due to the auteurist and formalist scholarly approaches that, to date, have been commonly used to study Ukamau films. This article proposes…
Auteurism, Machismo-Leninismo, and Other Issues
This article contextualizes and characterizes production practices in political cinema in Bolivia and Peru between the 1960s and 1990s, reading them as a communitarian endeavor that included many more women than official history acknowledges. It also documents the work of two overshadowed filmmakers—the Bolivian Beatriz Palacios and the Peruvian María Barea—mainly in their roles as film producers and managers of small producing companies, but als…
No prominent works on this page.
Auteurism, Machismo-Leninismo, and Other Issues
This article contextualizes and characterizes production practices in political cinema in Bolivia and Peru between the 1960s and 1990s, reading them as a communitarian endeavor that included many more women than official history acknowledges. It also documents the work of two overshadowed filmmakers—the Bolivian Beatriz Palacios and the Peruvian María Barea—mainly in their roles as film producers and managers of small producing companies, but als…
Las mujeres del Grupo Ukamau
The Ukamau group has a long history which spans for more than sixty years. The oral accounts acknowledge that women participated in all the different phases of the group, undertaking instrumental roles in front of and behind the camera. However, they have been overshadowed and erased from the official history due to the auteurist and formalist scholarly approaches that, to date, have been commonly used to study Ukamau films. This article proposes…
Beatriz Palacios
Beatriz Palacios's instrumental role in the Ukamau group has been largely ignored by film historiography and criticism. The authorial persona of her comrade and husband, Jorge Sanjinés, has eclipsed Palacios's work and ideas. Her erasure is due to the perspectives chosen to analyze Ukamau (male-centered auteurist and formalist approaches) and to the almost exclusive use of the voice of Sanjinés (interviews, essays, and films interpreted in an aut…
Creating the Archive for Incomplete Feminist Cinematic Narratives
María Aimaretti. Video Boliviano de los ‘80. Experiencias y memorias de una década pendiente en la ciudad de La Paz
Video Boliviano de los '80
Inter-generational/disciplinary/class film communities
Transnational efforts to rewrite the history of film production by women in the Global South have proliferated in the past few decades. A case in point is the historicization, preservation, restitution and activation of María Barea’s films, which an interdisciplinary and intergenerational group of researchers has been conducting since 2015. This article analyses the community-making dynamics of this feminist transnational preservation and recircu…
Art (4 works) · Political science (4 works) · Humanities (3 works) · Movie theater (3 works) · Sociology (3 works) · Art history (2 works) · Cinema and Media Studies (2 works) · Historiography (2 works) · History (2 works) · Law (2 works)