@misc{10481/95241,
year = {2019},
month = {7},
url = {https://hdl.handle.net/10481/95241},
abstract = {Following Karen Barad’s diffractive methodology, we encounter feminist documentary
cinema as a diffraction apparatus: that is, as technologies that make part of the world intelligible to
another part of the world in specific ways, by means of intra-actions between human and non-human
agencies and objects of observation. We propose three analytical tools: materiality, emotionality,
and performativity. In this article, we analyse two Spanish documentary films that render visible the
potential of feminist documentary cinema for building alliances from and against precarity: Cuidado,
resbala and Yes, We Fuck! Reading the insights and patterns raised in each case study through one
another (i.e., diffractively), we discuss the intra-actions by which each of these films participates
in co-creating the real. We end up describing three possible effects of feminist material-discursive
practices in documentary cinema.},
organization = {GRACE Gender and Cultures of Equality in Europe, a European Union’s Horizon
2020 research and innovation programme under the Marie Skłodowska-Curie grant agreement No. 675378},
publisher = {MDPI},
keywords = {Documentary},
keywords = {Diffraction apparatus},
keywords = {Diffractive reading},
title = {Feminist Documentary Cinema as a Diffraction Apparatus: A Diffractive Reading of the Spanish Films, Cuidado, resbala and Yes, We Fuck!},
doi = {10.3390/socsci8070206},
author = {Calderón Sandoval, Orianna and Sánchez Espinosa, María Adelina},
}