Pub Date : 2021-07-01DOI: 10.1525/fmh.2021.7.3.135
A. Ozgen-Tuncer
This article traces feminist affinities across images of shoes as signifiers of women’s precarious mobilities on the screen. Inspired by Catherine Russell’s methodology of parallax historiography, it investigates compelling images of shoes in women’s activist filmmaking from two different time periods and national cinemas. The footwear of Eva from Lois Weber’s Shoes (1916) and Mona from Agnès Varda’s Sans toit ni loi (Vagabond, 1985) lends itself to reflection on practices of feminist historiography and a figurative reconfiguration of the flâneuse as a feminist historian who critically revisits knowledge of the past and of the present to set both in motion.
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Pub Date : 2021-07-01DOI: 10.1525/fmh.2021.7.3.154
E. Ramírez-Soto
Though sometimes rightly hailed as one of Latin America’s most important women directors, Valeria Sarmiento is more frequently referred to as the wife (now widow) and closest collaborator of Raúl Ruiz. Since Ruiz’s death in 2011, she has been completing his unfinished films. At the same time, she continues directing her own projects. This essay unpacks her unique creative partnership—working as an editor for her husband while simultaneously striving to direct her own work—as a “double day,” a concept that serves to interrogate the multiple (often unrecognized) tasks demanded of female filmmakers in relation to modes of production developed outside the boundaries of the nation-state, at the interstices of European and Latin American film and television industries. The article examines the interconnections between the gendered division of labor in filmmaking and the precarious mobilities that result from exile.
{"title":"The Double Day of Valeria Sarmiento","authors":"E. Ramírez-Soto","doi":"10.1525/fmh.2021.7.3.154","DOIUrl":"https://doi.org/10.1525/fmh.2021.7.3.154","url":null,"abstract":"Though sometimes rightly hailed as one of Latin America’s most important women directors, Valeria Sarmiento is more frequently referred to as the wife (now widow) and closest collaborator of Raúl Ruiz. Since Ruiz’s death in 2011, she has been completing his unfinished films. At the same time, she continues directing her own projects. This essay unpacks her unique creative partnership—working as an editor for her husband while simultaneously striving to direct her own work—as a “double day,” a concept that serves to interrogate the multiple (often unrecognized) tasks demanded of female filmmakers in relation to modes of production developed outside the boundaries of the nation-state, at the interstices of European and Latin American film and television industries. The article examines the interconnections between the gendered division of labor in filmmaking and the precarious mobilities that result from exile.","PeriodicalId":36892,"journal":{"name":"Feminist Media Histories","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46685598","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Note from the Editors","authors":"Paula J. Massood, P. Wojcik","doi":"10.1525/fmh.2021.7.3.1","DOIUrl":"https://doi.org/10.1525/fmh.2021.7.3.1","url":null,"abstract":"","PeriodicalId":36892,"journal":{"name":"Feminist Media Histories","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46680567","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper discusses the practice of contemporary artist Cauleen Smith as an ongoing exploration of the aesthetic and political possibilities of cinematic space, place, and movement. Drawing upon a range of critical frameworks from cultural geography and Black feminism, it locates in Smith’s work an aesthetics and politics of errantry that favors radically nonnormative forms of relation and mobility. Borrowing the term from Martinican novelist and critic Édouard Glissant, and drawing more broadly from his thoroughgoing elucidations of the spatial dynamics of colonialism, the plantation system, and their afterlives, the text frames Smith’s cinematic errantry both as a formal and technological operation and as a political one grounded in a Black feminist praxis of place.
{"title":"Space Race","authors":"R. Conrath","doi":"10.1525/fmh.2021.7.3.19","DOIUrl":"https://doi.org/10.1525/fmh.2021.7.3.19","url":null,"abstract":"This paper discusses the practice of contemporary artist Cauleen Smith as an ongoing exploration of the aesthetic and political possibilities of cinematic space, place, and movement. Drawing upon a range of critical frameworks from cultural geography and Black feminism, it locates in Smith’s work an aesthetics and politics of errantry that favors radically nonnormative forms of relation and mobility. Borrowing the term from Martinican novelist and critic Édouard Glissant, and drawing more broadly from his thoroughgoing elucidations of the spatial dynamics of colonialism, the plantation system, and their afterlives, the text frames Smith’s cinematic errantry both as a formal and technological operation and as a political one grounded in a Black feminist praxis of place.","PeriodicalId":36892,"journal":{"name":"Feminist Media Histories","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41421951","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-01DOI: 10.1525/fmh.2021.7.3.104
Leana Hirschfeld-Kroen
This article uses AT&T’s 1910s–30s “Weavers of Speech” campaign to read on-screen telegraph and telephone operators as vernacular translators of cinematic syntax and hypervisible avatars for the invisible cutter girls who “knitted the pieces of film together” on studio lots. While operators largely played peripheral roles in classical films, two transitional periods saw them rise to the surface of story en masse, as if temporarily hired to sew over a rupture. A comparative analysis of telephone girls’ enlistment as temp techno-pedagogues during US film’s introduction of crosscutting and European film’s polyglot transition to sound suggests women’s film-weaving labor as an alternative to the surgical rhetoric (suture) and auteur models that dominate theories of film editing. More broadly, the article suggests that the culturally conspicuous feminization of low-level information labor offers feminist film historians a crucial “mediatrix” for uncovering woman workers hidden in the cut of film.
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Though often named as such in publicity materials, Filipa César is credited not as the director of Spell Reel (2017), but as having undertaken “assemblage.” Part of the collaborative project Luta ca caba inda, films including Spell Reel and Conakry (2013) are built around archival fragments stored in the Instituto Nacional de Cinema e Audiovisual in Guinea-Bissau. They were exposed to adverse conditions before being retrieved and digitized. These images, which remain unrestored, are traces of a militant cinema praxis forged during the anti-colonial resistance to Portuguese rule. This essay situates Spell Reel and Conakry (2013) as mobile homes for these images, enabling an audience of Guineans and others to come into contact with them in a context that situates their precarity as not a matter of loss but a method of inquiry. César foregrounds the laborious processes of assembly in place of authorship, thus revealing the potential of the cinematic medium to function as an infrastructural formation.
尽管在宣传材料中经常被这样命名，但菲利帕·塞萨尔并不是《魔咒卷轴》（2017）的导演，而是承担了“组装”。作为合作项目Luta ca caba inda的一部分，包括《魔咒卷》和《科纳克里》（2013）在内的电影都是围绕几内亚比绍国家电影视听研究所存储的档案碎片制作的。在被检索和数字化之前，它们暴露在不利的条件下。这些图像尚未保存，是在反殖民抵抗葡萄牙统治期间形成的激进电影实践的痕迹。本文将Spell Reel和Conakry（2013）定位为这些图像的移动家园，使几内亚人和其他人能够在一种背景下与他们接触，这种背景将他们的不确定性视为一种调查方法，而不是损失问题。塞萨尔强调了以组装代替创作的艰难过程，从而揭示了电影媒介作为基础结构的潜力。
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Pub Date : 2021-01-01DOI: 10.1525/FMH.2021.7.1.147
E. Singer
This article traces methods and conventions of performing women’s mental distress before the camera circa 1900. It features an analysis of gestural performances in French, US, Italian, and British films, with special attention given to two pre-1916 Gaumont films that include mad scenes. The topos of the white madwoman presents a valuable lens through which to investigate intermedial relations across performance forms and visual media as early cinema emerged, and gestures signifying madness have been particularly resilient even as approaches to film acting have evolved. Drawing on scholarship from Giorgio Agamben and Rae Beth Gordon, this article questions how techniques of performing female madness intersected with ideologies of race, class, and nationality.
{"title":"Strike a Pose","authors":"E. Singer","doi":"10.1525/FMH.2021.7.1.147","DOIUrl":"https://doi.org/10.1525/FMH.2021.7.1.147","url":null,"abstract":"This article traces methods and conventions of performing women’s mental distress before the camera circa 1900. It features an analysis of gestural performances in French, US, Italian, and British films, with special attention given to two pre-1916 Gaumont films that include mad scenes. The topos of the white madwoman presents a valuable lens through which to investigate intermedial relations across performance forms and visual media as early cinema emerged, and gestures signifying madness have been particularly resilient even as approaches to film acting have evolved. Drawing on scholarship from Giorgio Agamben and Rae Beth Gordon, this article questions how techniques of performing female madness intersected with ideologies of race, class, and nationality.","PeriodicalId":36892,"journal":{"name":"Feminist Media Histories","volume":"29 6","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41278080","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Although the conceptual framework of Latinidades is continually called into question for its gaps and exclusions, I remain committed to its usefulness and its capacity to speak to the range of realities and experiences of Latin American and Caribbean communities residing in the United States. Since its inception, Latinidades has been under construction and ever-evolving as marginalized and excluded subjects make their voices heard and work to revise and reconfigure its meaning. This special issue, “Re-imagining US Colombianidades,” focuses our attention on yet another community that has been scantily represented in Latino/a/x studies scholarship. US Colombians are no longer content to be characterized as “the other Latinos,” and the editors of this special issue make the case that study of US Colombianidades enhances and productively troubles Latino/a/x studies. This engaging set of essays highlights the rich diversity of US Colombianidades as well as the group’s similarities and differences with other Latino/a/x groups. With its innovative cultural studies and social sciences perspectives and interpretive theories, this volume offers a deep dive into issues such as how racial, gender, sexual, and socioeconomic realities shape US Colombian experience; the representation of US Colombians in popular culture; interethnic relations between Colombians and other Latina/o/xs; the political participation of Colombians in US electoral politics; Colombian transnational understandings of identity; and much more. I want to thank the editors of this special issue—Lina Rincón, Johana Londoño, Jennifer Harford Vargas, and María Elena Cepeda—for curating a set of articles that will most certainly inspire Latino/a/x studies scholars to expand our notions of Latinidades and be attentive to the ways in which a focus on US Colombianidades complicates and enriches our field.
{"title":"Note from the Editor","authors":"J. Bean","doi":"10.1525/FMH.2021.7.1.1","DOIUrl":"https://doi.org/10.1525/FMH.2021.7.1.1","url":null,"abstract":"Although the conceptual framework of Latinidades is continually called into question for its gaps and exclusions, I remain committed to its usefulness and its capacity to speak to the range of realities and experiences of Latin American and Caribbean communities residing in the United States. Since its inception, Latinidades has been under construction and ever-evolving as marginalized and excluded subjects make their voices heard and work to revise and reconfigure its meaning. This special issue, “Re-imagining US Colombianidades,” focuses our attention on yet another community that has been scantily represented in Latino/a/x studies scholarship. US Colombians are no longer content to be characterized as “the other Latinos,” and the editors of this special issue make the case that study of US Colombianidades enhances and productively troubles Latino/a/x studies. This engaging set of essays highlights the rich diversity of US Colombianidades as well as the group’s similarities and differences with other Latino/a/x groups. With its innovative cultural studies and social sciences perspectives and interpretive theories, this volume offers a deep dive into issues such as how racial, gender, sexual, and socioeconomic realities shape US Colombian experience; the representation of US Colombians in popular culture; interethnic relations between Colombians and other Latina/o/xs; the political participation of Colombians in US electoral politics; Colombian transnational understandings of identity; and much more. I want to thank the editors of this special issue—Lina Rincón, Johana Londoño, Jennifer Harford Vargas, and María Elena Cepeda—for curating a set of articles that will most certainly inspire Latino/a/x studies scholars to expand our notions of Latinidades and be attentive to the ways in which a focus on US Colombianidades complicates and enriches our field.","PeriodicalId":36892,"journal":{"name":"Feminist Media Histories","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41543855","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article brings together the history of US independent animation production in the 1970s and 1980s and feminist social reproduction theory in these same decades in order to understand independent animation in the context of an increasingly precarious and feminized post-Fordist creative economy. The article builds a composite portrait of independent animation at that time, anchored by films by six artists who navigated this economy at its nascency. It proposes the “homeworker” as an alternative figure to the common categories of “freelancer” or “independent artist” as part of a feminist analysis of living and working conditions that sustain independent artistic practice. By framing independent women’s animation as a site of speculation about creative possibilities of social reproduction, the article contributes to expanding scholarship on gendered labor in creative and cultural production.
{"title":"Homeworkers","authors":"Alla Gadassik","doi":"10.1525/fmh.2021.7.3.53","DOIUrl":"https://doi.org/10.1525/fmh.2021.7.3.53","url":null,"abstract":"This article brings together the history of US independent animation production in the 1970s and 1980s and feminist social reproduction theory in these same decades in order to understand independent animation in the context of an increasingly precarious and feminized post-Fordist creative economy. The article builds a composite portrait of independent animation at that time, anchored by films by six artists who navigated this economy at its nascency. It proposes the “homeworker” as an alternative figure to the common categories of “freelancer” or “independent artist” as part of a feminist analysis of living and working conditions that sustain independent artistic practice. By framing independent women’s animation as a site of speculation about creative possibilities of social reproduction, the article contributes to expanding scholarship on gendered labor in creative and cultural production.","PeriodicalId":36892,"journal":{"name":"Feminist Media Histories","volume":"1 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66945933","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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