Feminist counter-cinema and decolonial countervisuality: subversions of audiovisual archives in Un'ora sola ti vorrei (2002) and Pays Barbare (2013)
Metadatos
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Audiovisual Archives Archivo Audiovisual Documentary cinema Cine documental feminista Cine decolonial cine italiano
Fecha
2021Referencia bibliográfica
ORIANNA AKETZALLI CALDERON SANDOVAL; M. ADELINA SANCHEZ ESPINOSA (2021). Feminist Counter-Cinema and Decolonial Countervisuality: Subversions of Audiovisual Archives in Un'ora sola ti vorrei (2002) and Pays Barbare (2013). Studies in Documentary Film. 15 - 3, pp. 187 - 202. ISSN: 1750-3280. DOI: 10.1080/17503280.2020.1782807.
Patrocinador
Proyecto 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.Resumen
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.