Is it necessary to "be" a feminist to "make" feminist cinema? Icíar Bollaín and her cinematographic representation of gender.

<p class="Normal1">Inequality between men and women in cinema has remained stable from its beginnings. Both behind the cameras and on-screen representation, women have been systematically invisible, underrepresented and objectified. Feminist efforts arose in the 1970s to visualize an...

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Main Author: Julia Cabrera Campoy
Format: Article
Language:English
Published: Universidad Complutense de Madrid 2017-12-01
Series:Investigaciones Feministas
Subjects:
Online Access:http://revistas.ucm.es/index.php/INFE/article/view/54954
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spelling doaj-81f7a28d581a4aef9e50c835c789160d2020-11-24T22:10:41ZengUniversidad Complutense de MadridInvestigaciones Feministas2171-60802017-12-018244545610.5209/INFE.5495453346Is it necessary to "be" a feminist to "make" feminist cinema? Icíar Bollaín and her cinematographic representation of gender.Julia Cabrera Campoy0Centre for Women's Studies, University of York (UK)<p class="Normal1">Inequality between men and women in cinema has remained stable from its beginnings. Both behind the cameras and on-screen representation, women have been systematically invisible, underrepresented and objectified. Feminist efforts arose in the 1970s to visualize and subvert the existing power order, working through two axes: the critique on patriarchy and patriarchal cinema industry, and the development of feminist counter-cinema. Despite their efforts, women's situation has not been greatly improved. However, from the 90s a stream of female authors considered feminists by the critic disowning feminism has spread out. Their films are led by strong capable women, no longer representing women's struggles but assuming their victories and creating from them. New categories of analysis such as <em>post-feminist </em>cinema have been developed for those films. Nevertheless, I question whether these are essentially feminist representations since they are building alternative models of femininity. If they are, does this mean that a feminist consciousness is not necessary to make feminist films? In order to address this question I analyze gender representation in Bollaín’s filmography, and see whether their films fit in any feminist category despite her denial to the term, and the implication this could have.</p>http://revistas.ucm.es/index.php/INFE/article/view/54954Teoría feminista del cineContra-cineCine post-feministaPostmodernismoIcíar Bollaín.
collection DOAJ
language English
format Article
sources DOAJ
author Julia Cabrera Campoy
spellingShingle Julia Cabrera Campoy
Is it necessary to "be" a feminist to "make" feminist cinema? Icíar Bollaín and her cinematographic representation of gender.
Investigaciones Feministas
Teoría feminista del cine
Contra-cine
Cine post-feminista
Postmodernismo
Icíar Bollaín.
author_facet Julia Cabrera Campoy
author_sort Julia Cabrera Campoy
title Is it necessary to "be" a feminist to "make" feminist cinema? Icíar Bollaín and her cinematographic representation of gender.
title_short Is it necessary to "be" a feminist to "make" feminist cinema? Icíar Bollaín and her cinematographic representation of gender.
title_full Is it necessary to "be" a feminist to "make" feminist cinema? Icíar Bollaín and her cinematographic representation of gender.
title_fullStr Is it necessary to "be" a feminist to "make" feminist cinema? Icíar Bollaín and her cinematographic representation of gender.
title_full_unstemmed Is it necessary to "be" a feminist to "make" feminist cinema? Icíar Bollaín and her cinematographic representation of gender.
title_sort is it necessary to "be" a feminist to "make" feminist cinema? icíar bollaín and her cinematographic representation of gender.
publisher Universidad Complutense de Madrid
series Investigaciones Feministas
issn 2171-6080
publishDate 2017-12-01
description <p class="Normal1">Inequality between men and women in cinema has remained stable from its beginnings. Both behind the cameras and on-screen representation, women have been systematically invisible, underrepresented and objectified. Feminist efforts arose in the 1970s to visualize and subvert the existing power order, working through two axes: the critique on patriarchy and patriarchal cinema industry, and the development of feminist counter-cinema. Despite their efforts, women's situation has not been greatly improved. However, from the 90s a stream of female authors considered feminists by the critic disowning feminism has spread out. Their films are led by strong capable women, no longer representing women's struggles but assuming their victories and creating from them. New categories of analysis such as <em>post-feminist </em>cinema have been developed for those films. Nevertheless, I question whether these are essentially feminist representations since they are building alternative models of femininity. If they are, does this mean that a feminist consciousness is not necessary to make feminist films? In order to address this question I analyze gender representation in Bollaín’s filmography, and see whether their films fit in any feminist category despite her denial to the term, and the implication this could have.</p>
topic Teoría feminista del cine
Contra-cine
Cine post-feminista
Postmodernismo
Icíar Bollaín.
url http://revistas.ucm.es/index.php/INFE/article/view/54954
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