Feminist counter-cinema and decolonial countervisuality

Subversions of audiovisual archives in Un’ora sola ti vorrei (2002) and Pays Barbare (2013)

Bibliographic Data

ID21788289
AuthorsOrianna Calderón-Sandoval (0000-0002-9113-9010, Universidad de Granada, corresponding author), Adelina Sanchez-Espinosa (0000-0001-5872-1431, Universidad de Granada)
Year2021
Volume15
Issue3
Pages187-202
Publication date2021-09-02
Peer ReviewedYes
Open AccessNo
TypeARTICLE
VenueStudies in Documentary Film (JOURNAL)
Journal identifiersISSN: 1750-3280 • E-ISSN: 1750-3299
PublisherInforma UK Limited (PUBLISHER • GB)
DOI10.1080/17503280.2020.1782807
OpenAlexW3036554703
LanguageEN
References cited19

In this article we analyse the Italian compilation films Un’ora sola ti vorrei (Alina Marazzi, 2002) and Pays Barbare (Yervant Gianikian and Angela Ricci Lucchi, 2013) as examples, respectively, of feminist counter-cinema and decolonial countervisuality working with and against audiovisual archives. By means of a close-reading of the two films from an intersectional feminist perspective, we discuss: on the one hand, the ways in which Marazzi contests the rigid gender performativity of home movies, by restituting her mother’s memory and exposing her sense of discomfort; on the other hand, the strategies employed by Gianikian and Ricci Lucchi in their dismantling of the sexism and racism of the colonial archive, while also warning about the fascist past haunting the present

Art · Art history · Media studies · Movie theater · Political science · Sociology · Visual arts · Cinema and Media Studies · Italian Fascism and Post-war Society · Visual Culture and Art Theory

Tools

Open DOI