Orianna Calderón

University of Granada | UGR · Instituto de Investigación de Estudios de la Mujer

Studies about representations of Latinidad in US and European media have identified stereotypes like criminalization and hypersexualization. Furthermore, it has been argued that comedy operates as a double-edged sword in exposing racism, as humor can be deployed to simultaneously mask/justify and show/denounce racial discrimination and monolithic r...

Gender equality measures are now common in the policies of European film industries and can be an important tool for rendering visible gender inequalities. Recent research, however, indicates that top-down institutional gender mainstreaming might mean better conditions for some women in certain aspects, but structural inequalities tend to remain, i...

This article analyses discussion of a narrative concerning sexual consent in a 2019 Spanish television series broadcast on Netflix called Les de l’Hoquei (The Hockey Girls). A thematic analysis was conducted on 105 comments made in response to three posts on the show’s official Instagram account (all dated 27 May 2019), which summarise the series’...

Reading through one another insights raised by feminist thinkers Gloria Anzaldúa, Chela Sandoval, Rosi Braidotti and Karen Barad, this work analyses the 1994 autofictional film Brincando el charco. Portrait of a Puerto Rican by New York-based filmmaker and scholar Frances Negrón-Muntaner. This film is approached as a prime example of ways in which...

This article analyses (self)representations of women filmmakers active in the Swedish and Spanish film industries, looking at how “technologies of gender,” as theorised by Teresa de Lauretis, work to resist change within the industry’s “gender regimes” (as conceptualised by Raewyn Connell), but are also simultaneously reinvented by women film worke...

This article analyses how gender quotas in film policy are debated in the Spanish and Swedish film industries. By analysing public records, media material and interviews with industry stakeholders, four categories of arguments are found: (1) Arguments for quotas, articulating the problems women face in the industry; (2) Arguments against quotas rel...

Over the last decade, gender equality measures like positive actions in public funding have been implemented in the Spanish film industry. This article discusses these measures by looking at both the gender order that has been embedded in the Spanish film governance regime since its origins and the ways in which such gender order re-emerges in the...

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...

Reading through one another insights raised by Teresa de Lauretis (1987; 1990), Donna Haraway (1988; 1992), Annette Kuhn (1994) and Karen Barad (2007), this article approaches feminist documentary cinema as diffraction apparatus and eccentric technology of gender. The article is divided into four sections. The first section follows Kuhn’s and de La...

En el marco del debate sobre el realismo cinematográfico y la experimentación formal en el cine documental feminista, este ensayo revisa los primeros filmes dirigidos por dos cineastas contemporáneas: Maricarmen de Lara y Alina Marazzi. Adoptando la perspectiva de los conocimientos situados, se busca una salida al juicio dicotómico que tiende a jer...

Este capítulo revisa prácticas feministas en dos documentales contemporáneos que tratan el tema del derecho a decidir sobre la propia maternidad: el filme colectivo español Yo decido. El tren de la libertad (2014) y el documental italiano Lunàdigas. Ovvero delle donne senza figli (Nicoletta Nesler and Marilisa Piga, 2016). El texto se encuentra div...

This article analyses the ways in which Italian filmmaker Simone Cangelosi enacts a queer countervisuality in his documentary films Dalla testa ai piedi (2007) and Una nobile rivoluzione (2014). The theoretical framework traces a genealogy from what has been termed as fe/male gazes up to what can be understood as transgender, queer and feminist gaz...

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...

http://ffc.twu.edu/issue_7-1/rev_Calderon_7-1.html