Suchergebnisse

"In The Force of Witness Rosa-Linda Fregoso examines the contra feminicide movement in Mexico and other feminist efforts to eradicate gender violence. Drawing on interviews, art, documentaries, and her years of activism, Fregoso traces the micro and macro scales of misogyny and the patterns of state complicity with gender violence. She shows how different forms of witnessing-from activist-mothers' bearing witness to the memories of their daughters and expert witnesses in court cases to communal witnessing and a scholar-activist-citizen witnessing her own actions-are key to resisting feminicidal violence. Fregoso situates these forms of witness in the histories, contexts, structures, bodies, and intersectional struggles they emerge from. By outlining the complexities of feminicidal violence in relation to witnessing processes, Fregoso challenges the notion of witness as an individual or autonomous subject inscribed solely in the legal or religious arenas. Rather, she theorizes witness as a force of collectivity and a constellation of multiple social locations and intersectional practices that work together to abolish feminicidal violence"--

In The Force of Witness Rosa-Linda Fregoso examines the contra feminicide movement in Mexico and other feminist efforts to eradicate gender violence. Drawing on interviews, art, documentaries, and her years of activism, Fregoso traces the micro and macro scales of misogyny and the patterns of state complicity with gender violence. She shows how different forms of witnessing—from activist-mothers' bearing witness to the memories of their daughters and expert witnesses in court cases to communal witnessing and a scholar-activist-citizen witnessing her own actions—are key to resisting feminicidal violence. Fregoso situates these forms of witness in the histories, contexts, structures, bodies, and intersectional struggles they emerge from. By outlining the complexities of feminicidal violence in relation to witnessing processes, Fregoso challenges the notion of witness as an individual or autonomous subject inscribed solely in the legal or religious arenas. Rather, she theorizes witness as a force of collectivity and a constellation of multiple social locations and intersectional practices that work together to abolish feminicidal violence

This critical retrospective analyzes the cinematic works of Latina director, Lourdes Portillo, starting with her first short film, After the Earthquake, 1979 (co-directed with Nina Serrano) to one of her most recent documentaries, Señorita Extraviada (2001). Lourdes Portillo's films raise pertinent issues for decolonial and postcolonial feminism, as much as they are emblematic of a wide spectrum of social, cultural and political concerns of Latina feminist artists. In her films, Portillo adopts a broad transnational vision that positions women at the center of the narrative, and documents the neoliberal economic policies, the legacy of military dictatorships, as well as the articulation of gender-based violence with structures of domination in the everyday lives of women. ; Esta retrospectiva crítica analiza la obra cinematográfica de la directora latina, Lourdes Portillo, empezando con su primer film de cortometraje, Después del terremoto (1979), codirigido por Nina Serrano hasta uno de sus más recientes documentales, Señorita Extraviada, (2001). Las películas de Lourdes Portillo plantean una serie de aspectos pertinentes para el feminismo descolonial/poscolonial y son emblemáticas del amplio espectro de las preocupaciones sociales, culturales y políticas de las artistas feministas y latinas. En todas sus obras, Portillo adopta una amplia visión transnacional, colocando a la mujer en el centro de sus historias y documentando las políticas económicas neoliberales, el legado de violencia de los regímenes militares, así como el vínculo de la violencia de género con las estructuras de dominación en la vida cotidiana de las mujeres.

This critical retrospective analyzes the cinematic works of Latina director, Lourdes Portillo, starting with her first short film, After the Earthquake, 1979 (co-directed with Nina Serrano) to one of her most recent documentaries, Señorita Extraviada (2001). Lourdes Portillo's films raise pertinent issues for decolonial and postcolonial feminism, as much as they are emblematic of a wide spectrum of social, cultural and political concerns of Latina feminist artists. In her films, Portillo adopts a broad transnational vision that positions women at the center of the narrative, and documents the neoliberal economic policies, the legacy of military dictatorships, as well as the articulation of gender-based violence with structures of domination in the everyday lives of women. ; Esta retrospectiva crítica analiza la obra cinematográfica de la directora latina, Lourdes Portillo, empezando con su primer film de cortometraje, Después del terremoto (1979), codirigido por Nina Serrano hasta uno de sus más recientes documentales, Señorita Extraviada, (2001). Las películas de Lourdes Portillo plantean una serie de aspectos pertinentes para el feminismo descolonial/poscolonial y son emblemáticas del amplio espectro de las preocupaciones sociales, culturales y políticas de las artistas feministas y latinas. En todas sus obras, Portillo adopta una amplia visión transnacional, colocando a la mujer en el centro de sus historias y documentando las políticas económicas neoliberales, el legado de violencia de los regímenes militares, así como el vínculo de la violencia de género con las estructuras de dominación en la vida cotidiana de las mujeres.

¡Las queremos vivas! : la política y cultura de los derechos humanos