Intersecciones, giros y alteridades en la producción documental feminista española contemporánea

Identificador:  TDX:4469

Handle: https://hdl.handle.net/20.500.11797/TDX4469

Autors:  Fonoll Tassier, Anna

Resum:
The documentary macro-genre represents a significant space within the film sector where the presence of women professionals, and other marginalized groups, has experienced a substantial increase on a local and global scale. This growth has made the documentary field a rich area for innovations, and conducive to scholarly analysis. In the Spanish context, academic research addressing the intersection of documentary and feminism remains relatively nascent. The R&D project 'Articulaciones del género en el documental español contemporáneo: una perspectiva interseccional' stands as one of the pioneering efforts in this domain. Within the framework of this project, this thesis aims to investigate the diversification of styles, practices, and narratives that have emerged due to the epistemological shift resulting from the incorporation of postmodern perspectives in Spanish feminist documentary filmmaking. Particularly over the past decade, feminist cinema has focused on making visible subjects who face multiple forms of discrimination beyond patriarchal oppression, including factors related to colonial history and its contemporary repercussions. This research identifies, analyses, and exposes the work of several female directors who are 'triply peripheral', due to their gender, and the precarious nature of their film sector and industry. By examining their films, we focus on the representational and discursive strategies, as well as the modes of production, in Spanish intersectional feminist non-fiction cinema, with particular emphasis on postcolonial cinema. To do so, this study draws from a literature review that aims to bridge gaps between documentary theory, feminist film theory, and postcolonial theory. In addition, it analyses a film corpus produced between 2008 and 2022, supplemented by other qualitative tools to a lesser extent. Finally, we identify various intersections, shifts, and otherness, as well as the evolving claims of the Iberian feminist agenda that the selected filmmakers transfer, and interrogate in the representation of the reality in contemporary Spanish film production.