Women in Iberian Filmic Culture
A Feminist Approach to Cinemas in Portugal and Spain
Distributed for Intellect Ltd
238 pages
|
14 halftones
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6 3/4 x 9 1/2
- Contents
Table of Contents

Contents
Introduction: Women in Iberian cinemas, a singular tour in Spain and Portugal
Elena Cordero-Hoyo and Begoña Soto-Vázquez
Part 1: The presence of women in Iberian cinemas
Fiction as a Place of Power: The Presence of Female Directors Throughout the History of Portuguese Cinema.
Ana Catarina Pereira
The Invisible Women of Spanish Cinema.
Annette Scholz
Três dias sem Deus by Bárbara Virgínia, a Different Way of Representation.
Ricardo Vieira Lisboa
Part 2: Killing the muse: Women as creator
Gender Violence and Historical Memory in Margarida Cardoso and Isabel Coixet.
Estela Vieira
‘People Don’t Understand [the] World’: The Limits of Transnational Authorship in the Cinema of Isabel Coixet.
Katarzyna Paszkiewicz
Murmuring Colonial Ghosts in Margarida Cardoso’s Filmography.
Adriana Martins
Part 3: Beyond the author: Recognizing other cinematographic professions
Weaving a Cinematographic Culture and Writing about Film or How to Reconstruct the Subject of Women in Spanish Silent Cinema.
Begoña Soto-Vázquez
A Woman Censor during the Portuguese Dictatorship (1968–74).
Ana Bela Morais
Costume Designers in Portugal: A Trade Between Art and Technique Relegated to the Status of ‘a Woman’s Thing’.
Caterina Cucinotta
Part 4: Historical memory and the gendered archive
Paradigms – Women Filmmakers in 1970s Revolutionary Portugal – Delgado, Nordlund, Cordeiro and Serra.
Érica Faleiro Rodrigues
The Mother Awaits: Woman and Landscape in Galician Non-Fiction Cinema.
Mª Soliña Barreiro González
Exploring the Portuguese Memory through Appropriation Film: A toca do lobo (Mourão, 2015).
Elena Cordero-Hoyo
Notes on contributors
Elena Cordero-Hoyo and Begoña Soto-Vázquez
Part 1: The presence of women in Iberian cinemas
Fiction as a Place of Power: The Presence of Female Directors Throughout the History of Portuguese Cinema.
Ana Catarina Pereira
The Invisible Women of Spanish Cinema.
Annette Scholz
Três dias sem Deus by Bárbara Virgínia, a Different Way of Representation.
Ricardo Vieira Lisboa
Part 2: Killing the muse: Women as creator
Gender Violence and Historical Memory in Margarida Cardoso and Isabel Coixet.
Estela Vieira
‘People Don’t Understand [the] World’: The Limits of Transnational Authorship in the Cinema of Isabel Coixet.
Katarzyna Paszkiewicz
Murmuring Colonial Ghosts in Margarida Cardoso’s Filmography.
Adriana Martins
Part 3: Beyond the author: Recognizing other cinematographic professions
Weaving a Cinematographic Culture and Writing about Film or How to Reconstruct the Subject of Women in Spanish Silent Cinema.
Begoña Soto-Vázquez
A Woman Censor during the Portuguese Dictatorship (1968–74).
Ana Bela Morais
Costume Designers in Portugal: A Trade Between Art and Technique Relegated to the Status of ‘a Woman’s Thing’.
Caterina Cucinotta
Part 4: Historical memory and the gendered archive
Paradigms – Women Filmmakers in 1970s Revolutionary Portugal – Delgado, Nordlund, Cordeiro and Serra.
Érica Faleiro Rodrigues
The Mother Awaits: Woman and Landscape in Galician Non-Fiction Cinema.
Mª Soliña Barreiro González
Exploring the Portuguese Memory through Appropriation Film: A toca do lobo (Mourão, 2015).
Elena Cordero-Hoyo
Notes on contributors
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