This article centres on the development of the documentary & iquest;Usted de nuevo se & ntilde;orita? (You again Miss?) which was created from the archives of Peruvian women filmmakers. The article reflects on the projects of preserving the archives of women filmmakers which began in 2018, the year in which the National Audiovisual Preservation Project Grants from the Ministry of Culture began. article shares the experience of finding the archives of Maria Barea and Paloma Valdeavellano, who were both involved in women's organization. It concludes that, although these archives have been kept in domestic spaces, this has made it possible to access memories that renew the history of Peruvian cinema.
Taking into consideration the status of archival projects related to the legacy of Colombian filmmakers Marta Rodriguez, Gabriela Samper, Gloria Triana and the feminist collective Cine Mujer, these notes aim to explain the complexities involved in the creation of digital repositories. The discussion keeps in mind not only technical needs but also the intellectual challenges that these processes convey. From collecting documents to digital publishing or exhibiting, digital repositories should encourage the rethinking of historiographies, notions of 'pioneerism' and auteurism, inviting to the unveiling and inclusion beyond the figure of the woman director.
The creation of the 'Women and Film' International Women's Film Festival in Argentina 1988 opened a crucial space for women to work in filmmaking and its associated trades. This article revisits little-known or overlooked materials documenting activities, actions and practices related to the organization of this groundbreaking event. It also offers a critical framework and a series of interpretative keys through which to develop an account of the festival. Simultaneously, the research carried out for the article gives an overview of the location, accessibility and value of the materials documenting the festival.
This Special Issue 'Guerrilla Archiving: Documents for a Feminist History of Latin American Cinemas' is a vindication of the importance of preserving women filmmakers' collections of documents. We map, systematize and render visible these 'imperfect archives' or counter archives, which are fundamental to our ambitious and collective project of rewriting the history of Latin American cinemas from a feminist perspective. This issue also offers critical and contextual frameworks for understanding archival sources related to women's filmmaking practices in cinema, video and/or television production. Our guerrilla feminist interventions provide an expansive view of women's work while assessing the current state of the archives of Latin American women filmmakers' heritage scattered worldwide.
This article reviews the archives of Central American female film pioneers. It focuses in particular, on the information available for four filmmakers: Patricia Howell and Mercedes Ramirez from Costa Rica, and Maria Jos & eacute; & Aacute;lvarez and Rossana Lacayo from Nicaragua. It suggests that what is available reflects the importance of the personal or state archives, and the spaces, gaps and losses that exist in these archives. The region's most complete records, the article notes, are dedicated to male directors and were set up by military governments to register these directors' works. Finally, this article reflects on the future of the archive given the number of films being made today.
