[ecrea] Call for book chapters - Gender and Violence in Iberian and Latin American Cinemas.

    Estimadxs compañerxs, os remito correo de presentación y CFC del
    próximo libro que estamos preparando por si es de vuestro interés y
    nos pudierais ayudar a distribuirlo entre vuestras redes y contactos.
    Gracias anticipadas,
    María José
    *
    *
    *
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    *Call for book chapters - Gender and Violence in Iberian and Latin
    American Cinemas. *
    *
    *
    *Editors.: Dr. MJ Gámez Fuentes (Univ. Jaume I), Dr. R Maseda García
    (Univ. of Alaska at Anchorage) & Dr. B Zecchi (Univ. of
    Massachusetts Amherst)*
    *
    *
    Dear colleague,

    We are preparing an edited volume in English language on Gender and
    Violence in Iberian and Latin American Cinemas, for which Routledge
    has shown great enthusiasm.

    Please find the CFP below and circulate it widely with graduate
    students, faculty, and independent scholars who work on any aspect
    of film, gender and violence.

    Thank you, and do not hesitate to contact us should you have any
    questions.

    Sincerely,

    María José


    CFP Book on Gender and Violence in Iberian and Latin American Cinemas
    Eds.: M. J. Gámez Fuentes, R. Maseda García and B. Zecchi.

    This edited volume is interested in essays that make important
    contributions to the fight against gender-based violence via the
    analysis of Latin American and Iberian films of any genre. Our
    objective is to critically analyze the ways cinema mediates
    gender-based violence against subjects and, more particularly, the
    ways cinema practitioners are succeeding in transforming established
    hegemonic narratives that mainly capitalize on women’s
    victimization. Gender and Violence in Iberian and Latin American
    Cinemas aims, thus, at advancing on the international debate on the
    representation of violence sustained on the gender regime.

    Rather than merely presenting another compilation of the state of
    things, our purpose is to bring to the forefront state of the art
    initiatives that break away from the heteronormative framework that
    informs canonical modes of representation according to which
    heterosexual women are placed as the usual victims devoid of agency
    before a male aggressor. In order to do that, firstly, we aim at
    detecting signifying film practices that succeed in fissuring
    established modes of representation; secondly, we want to study
    possibilities of innovation that arise from “ethical witnessing”
    (which assigns responsibility to the act of spectatorship –Oliver,
    Witnessing beyond Recognition, 2001; Kaplan, Trauma Culture, 2005)
    so that the transformation of hegemonic narratives is enabled.
    Finally, our intention is to open the scope to discuss the approach
    towards gender violence by putting into dialogue different feminist
    perspectives including those coming from LGTBIQ positions in Latin
    America and the Iberian Peninsula.

    Specialized literature coincides in signalling that female identity
    is defined in terms of its "injurability", using Butler &
    Athanasiou’s term (Dispossession: The performative in the political,
    2013); that is, in contexts of violence, women’s subjectivity is
    associated with being vulnerable to death and injury. Moreover, on
    occasions violence does not seem to have a specific executor
    (someone known to the women), the aggressive exploit appears to be
    hazardous, and the victim’s responsibility is heightened. When
    representations focus on the assailant they endeavour to look for a
    cause for the aggression –discussions, separation, jealousy...–
    making evident the lack of accountability, to use Butler’s
    nomenclature (Giving Account of Oneself, 2005) and, in the worst
    cases, they assign part of the blame on the women for her chosen
    lifestyle, actions, or inactions. The patriarchal discourse found in
    these representations concentrate on particular stories, of
    particular women and men, in particular situations. This factor
    eliminates any possibility of a general social and political
    elucidation and condemnation of the conventional registers that
    produce trauma/violence/loss.

    However, in this unequal distribution of vulnerability, women are
    not the only ones targeted as injurable (with impunity) or
    disposable (without reparation). In this sense the same could be
    argued about gender-based violence committed against LGTBIQ
    subjects. Homophobia and transphobia remain a form of structural
    violence even in the so-called most progressive countries.

    Therefore we are interested in the analysis of films (and/or
    cinematographic techniques) that overcome representations of victims
    of gender-based violence as passive elements and introduce a vision
    of them as active subjects endowed with agency and capacity to
    transform

    the contexts where violence is exercised.

     From this perspective, we invite theoretical, qualitative, and
    quantitative approaches to the subject from researchers working on
    film from different disciplines, traditions, and theoretical
    perspectives. Possible topics might include, but are not limited to:

    - Film texts (style, genre, forms, aesthetics...) that seek to
    transform established hegemonic narratives on women’s victimization
    - Film representations questioning the public sphere’s response to
    violence against women and trauma

    - Films representing women at war; women in wars from a
    non-conventional perspective
    - Gender and resistances in the aftermath of dictatorships,
    genocide, wars, massacres, and forced migrations in cinema
    - The matrix of gendered violence: The intersections of sexuality,
    race, ability, religion, age, class, and/or geography and the
    relationship to gender-based violence and trauma in film
    - Case studies documenting, critiquing, and analyzing violence
    against women in film
    - Feminist film practices and female trauma
    - Ethical witnessing and healing female trauma in cinema
    - Social impact of films that propose an active and engaged form of
    consumption from viewers (ethical)
    - The ethics of empathy in film portrayals of violence and female 
trauma
    - Film representations of gendered violence in relation to the
    political role of the community or civil society and/or to the
    defence of human rights.
    - Memory and commemoration (testimonies) of women’s traumatic
    experiences in film
    - Ageing and violence: Films that transform established narratives
    on elder women’s abuse and neglect, and seek to reverse the
    traditional absence and/or stereotyping of older female characters
    in contexts of violence.

    We will market the book for an international audience (the volume
    will be in English language). Routledge has indicated interest as
    part of the Gender & Sexuality series and we will continue to
    consider other reputable academic publishers. Please circulate the
    CFP widely with graduate students, faculty, and independent scholars
    who work on any aspect of film, gender and violence.

    Should you be interested, please send a 600 word abstract (in
    English) with a working title that gives an overview of your
    proposed essay and a two pages CV to Drs. María José Gámez
    Fuentes (Universitat Jaume I, Castellón, Spain) at (gamezf /at/ uji.es)
    <mailto:(gamezf /at/ uji.es)>, Rebeca Maseda García (University of Alaska
    Anchorage, USA) at (rmasedagarcia /at/ alaska.edu)
    <mailto:(rmasedagarcia /at/ alaska.edu)>, and Barbara Zecchi (University of
    Massachusetts Amherst, USA) at (bzecchi /at/ umass.edu)
    <mailto:(bzecchi /at/ umass.edu)> by April 24th, 2017. If accepted, the
    final draft version of your chapter, approximately 8,000 words,
    would most likely be due by December 1st 2017. Decisions about the
    final shape of the project will be made once the publisher has
    reviewed and agreed upon accepted full chapter proposals. Feel free
    to write to us with any questions you might have. We look forward to
    reading your submissions.



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