Introduction: from processto objects

Authors

DOI:

https://doi.org/10.34619/l9q8-efbj

Abstract

This present issue of RCL departures from an initial and initiatic question: where are the women in the decolonisation processes? It then evolves into more specific interrogations. How have the women in the former Portuguese colonies perceived these liberation struggles? How have their perspectives been, or not, assimilated into the (re) imagining of colonialism? Is there an explicitly female vision of liberation from Portuguese colonialism? What knowledge and awareness do we have of/about these perceptions? And how do these intersect with the views of those women filmmakers, artists, curators, and academics who, today, question the archives, public and private, explore and visually reinvent their memories, and reimagine colonialism? What role does academic research, archive conservation policies, programming and curatorial practices play in the questioning or, by contrast, protraction of official “politics of memory”?

In the process, however, we have welcomed proposals that extended the strict thematic (and even geographic) latitude of this issue, but which responded to the challenge of reflecting upon “modes of seeing and knowing” of women involved in decolonisation processes, past and present, and to a specific editorial concern: how are women — in their academic, theoretical and/or artistic practices — responding to the current decolonial turn?

Author Biographies

Maria do Carmo Piçarra, ICNOVA - Faculty of Social and Human Sciences of NOVA University of Lisbon, Portugal

Hired researcher at ICNOVA/FCSH, an assistant professor at the Universidade Autónoma de Lisboa, and a film programmer. Among other publications and books, she published Projectar a ordem. Cinema do Povo e propaganda salazarista (Projecting the order. Cinema do Povo and Salazar propaganda, 2020), Azuis ultramarinos. Propaganda colonial e censura no cinema do Estado Novo (Ultramarine Blues. Colonial propaganda and censorship on Estado Novo’s cinema, 2015), and, with Teresa Castro, edited (Re)Imagining African Independence. Film, Visual Arts and the Fall of the Portuguese Empire (2017).

Ana Cristina Pereira, University of Coimbra, Center for Social Studies - CES, Portugal

Holds a Ph.D. in Cultural Studies, from the University of Minho, with the thesis Otherness and identity in cinematographic fiction in Portugal and Mozambique. Her main research interests are alterity(s)/identity(s), social memory, race, and gender, in a postcolonial and intersectional perspective. She is a post-doc researcher at CES (University of Coimbra) as a member of the project (De)Othering, and associate researcher at CECS (University of Minho) as a member of the project CulturesPast&Present. She was also member of the project “On the sidelines of Portuguese cinema: a study on Afro-descendant cinema produced in Portugal.”

Inês Beleza Barreiros, ICNOVA - Faculty of Social and Human Sciences of NOVA University of Lisbon, Portugal

Cultural and art historian interested in the migration of images across time and space and the ways in which the coloniality of seeing sustains the coloniality of knowledge. She is an editor of La Rampa and has been working in documentary films. Inês holds a Ph.D. in Media, Culture and Communication from New York University, a Master in Contemporary Art History from New University of Lisbon and a BA in Art History from University of Lisbon.

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Published

2021-07-07

How to Cite

Piçarra, M. do C., Pereira, A. C., & Barreiros, I. B. (2021). Introduction: from processto objects. Revista De Comunicação E Linguagens, (54), 7–18 / 19. https://doi.org/10.34619/l9q8-efbj

Issue

No. 54 (2021): Gendering decolonizations: ways of seeing and knowing

Section

Editorial Introduction

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