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In this article we reflect on our longstanding work within a powerful European network of feminist scholars. Here we consider how we have collaboratively created and sustained embodied infrastructures of care in building feminist academic scholarship, supporting the next generations of feminist scholars into the academy, and working through creative praxis to generate feminist and queer activism within and beyond academic spaces. We argue that our gendered bodies, identities and material actions have built embodied infrastructures that have facilitated feminist access to higher education and career development and advanced gender equalities discourse beyond the academy through our creative activist networks.

Feminist Literary and Filmic Cultures for Social Action: Gender Response-able Labs examines teaching and research practices under feminist new materialisms and response-ability through literary and visual products. It is an invaluable resource to advanced undergraduate and postgraduate students in literary, film, and feminist studies.

This chapter aims to analyse feminist resistances to persuasion in visual discourse and to dissect several case studies in fiction and non-fiction Spanish films in order to highlight what we consider to be practices of feminist counter-visuality. Our theoretical genealogy starts with Adrienne Rich's and Judith Fetterley's claims for re-viewing and resisting readership. We then move from textual transgressions to the urge for visual transgressions expressed by feminist film theorists and practitioners. After discussing a classical example of persuasive visual discourse, Alfred Hitchcock's Psycho, and two instances of transgressive gazing by well-known feminist filmmakers Sally Potter and Jane Campion, we bring our argument to recent Spanish fiction and non-fiction cinema and close-read scenes from seven case studies as a basis to exploring how the alternative film discourses represented within them can operate as technologies of social response-ability and accountability in face of the challenges present in the current feminist agenda in Spain.

The aim of this chapter is to analyse how two documentary films, Elisabetta Lodoli's Ma l'amore c'entra? and Isabel de Ocampo's Serás Hombre, critically explore the interrelation between the performance of hegemonic masculinities and gender-based violence. Our methodology focuses on the affective and performative dimensions of documentary cinema since we look for ways in which emotions work in and through gender-based violence, shaping performances of masculinity. We also identify 'moments of affection', where possibilities of transformation can be envisioned. The chapter is divided into four sections. The first provides the theoretical framework, which combines feminist critiques of how gender-based violence is represented in mainstream media, the intersections between the exercise of violence and the performance of masculinity, and a description of what a performative and affective approach to the analysis of documentary cinema entails. The second and third sections present the analysis of our case studies. With hate and anger as our entry points, we close-read selected scenes from each film, incorporating opinions expressed by their directors and reactions from spectators. We conclude by summarising the modes in which our case studies set into motion ways of performing cultures of gender equality on both sides of the camera and the screen.