Special Issue of Aniki, the Portuguese Journal of the Moving Image
Edited by Mariana Liz (Universidade de Lisboa) and Marina Tedesco (Universidade Federal Fluminense)
The second half of the 20th century was characterized, in many countries, by the emergence of a new relationship between women and space. Easier access to the labour market, as well as to higher levels of education, were important victories for women, even if these were defined by obvious asymmetries in terms of class, race and location. Across the world, while fighting for fairer social, workplace and sexual rights, women not only abandoned, and occupied in new ways, the domestic space; they also began to inhabit, in a more affirmative manner, the public space, as well as that of the media.
It wasn’t long before such changes had an impact on film. It is not a coincidence that in many films of the 1960s and 1970s we see on screen women walking, working or fighting for their survival in the streets of different cities. Nature, often used as a metaphor for women, because attributed values traditionally associated with the feminine condition, such as purity, emotion and irrationality, also became a space for contestation. Women simultaneously came to occupy the spaces of representation and of production of film. In Brazil, in the 1970s, there was, for the first time in history, a growing number of women directors. Many of these have not only been able to direct more than one film since beginning their careers, but are also still active. In Portugal, three decades after Bárbara Virgínia, conventionally known as the country’s first woman filmmaker, active in the 1940s, women filmmakers finally re-emerged in the 1970s. The growing number of women that have been playing important roles in the most diverse areas of the cinematographic industry is not, of course, restricted to these two countries.
Today we witness once again vivid debates on the relationship between women and cinema. This is a phenomenon that certainly has local specificities, but can be considered to be global, as testified by the US movements Time’s Up and #MeToo, which dialogue with similar campaigns emerging in other national contexts. As such, this special issue aims to bring together essays that discuss the multiple ways in which women and space can be examined in contemporary film. Hence, we seek pieces that address the following, and other, similarly related, topics:
- Theoretical contributions on women and space in 21st century cinema
- The spaces occupied by women on- and off screen in 21st century cinema
- Women and urban space in contemporary film
- Nature and the feminine in 21st century cinema
- The archive as a feminine space
- Film distribution spaces occupied by the cinema directed by women
- Women and film viewing spaces
- New approaches to the space occupied by women in film history and film criticism
- The different scales of ‘women’s cinema’: the feminine and the local, national and global spaces of contemporary film
The deadline for submitting completed papers is June 15, 2019. Articles submitted to Aniki will be the object of a double-blind peer review process. Authors must refer to Section Policies, Author Guidelines and Peer Review Process, both available at the journal website.