Cine postcolonial y de g谷nero. La di芍spora afro-caribe a en el Reino Unido

作者：Duran Almarza; Emilia Maria

来源：Arbor: Revista General de Investigacion y Cultura , 2012, 188(758): 1131-1139.

DOI：10.3989/arbor.2012.758n6011

• Caribbean diasporas
• post-colonial film
• transnational feminism
• gender
• ethnicity
• Diaspora caribe a
• cine postcolonial
• feminismo transnacional
• genero
• etnicidad

This article offers a critical re-evaluation of films directed by women of Caribbean descent in the United Kingdom. Although their presence in the British tradition is limited, given the marginal position they occupy as a result of the combination of variables such as race, ethnicity, gender, and/or social class, their contribution to British, Afro-diasporic and feminist film traditions cannot be underestimated. Drawing on comparative and transcultural approaches to analyse The Passion of Remembrance, co-directed by Maurine Blackwood and Isaac Julien, and Dreaming Rivers, directed by Martine Atille, both belonging to Sankofa Film Collective, this study highlights the multiple ways in which their work contributed to epistemological developments in the sphere of the so-called %26quot;British Black Arts Movement%26quot; of the 80s and 90s, as well as to the establishment of what has been called British postcolonial filmmaking. El presente art赤culo trata de ofrecer una re-evaluaci車n cr赤tica del cine dirigido por mujeres de ascendencia caribe a en el Reino Unido. Si bien la presencia de directoras afro-caribe as en la tradici車n brit芍nica es limitada, dada la posici車n marginal que ocupan como resultado de la combinaci車n de variables como raza, etnicidad, g谷nero, y/o clase social, no se puede desestimar el alcance de su aportaci車n a las tradiciones f赤lmicas femenina, brit芍nica y afro-diasp車rica. Aplicando un enfoque comparativo y transcultural a The Passion of Remembrance, codirigida por Maurine Blackwood e Isaac Julien, y Dreaming Rivers, dirigida por Martine Atille, ambas pertenecientes al colectivo Sankofa, este estudio pone de manifiesto las m迆ltiples formas en que sus obras contribuyeron tanto al desarrollo epistemol車gico del movimiento de las artes brit芍nicas negras (※British Black Arts Movement§) en las d谷cadas de los a os 80 y 90, como al establecimiento de lo que se ha venido a llamar el cine postcolonial brit芍nico.