El género detrás de las cámaras. Mujeres fotógrafas europeas

Filomena Serra; Caterina Cucinotta

doi:10.24310/fotocinema.30.2025.21196

Authors

Filomena Serra Instituto de História Contemporânea, FCSH/Universidade NOVA de Lisboa/ IN2PAST Portugal https://orcid.org/0000-0002-3011-2383
Caterina Cucinotta Facultad de Ciencias de la Comunicación Departamento de Periodismo y Comunicación Corporativa, Universidad Rey Juan Carlos, Madrid Spain https://orcid.org/0000-0002-0572-6930

DOI:

https://doi.org/10.24310/fotocinema.30.2025.21196

Keywords:

Women photographers, colonial photography, biographie, documentary photography, photojournalism, Cinema

Abstract

Abstract:

Abstract: Women have never been a homogenous and essentialised category. Extending the analysis of women to the notion of gender is useful for keeping in mind that ‘woman’ and ‘man’, while biological types are cultural constructs. Gender denotes perceptions of femininity and masculinity and, at the same time, hierarchical structures and power relations in society. Gender is a multi-layered concept that opens up other notions, such as class, race and religion; as well as other epistemological meanings. These arguments, and recent historical research applied to European women photographers, have led us to the aim of this monograph: updating some of the fundamental questions and renewing our knowledge of European women photographers’ work. We do not exclude those who have made their way outside Europe and used different photographic practices. At the same time, we consider women photographers who have extended their activity to cinema, a medium where, historically, they have been underrepresented. These issues are transversal to the ten articles in this monograph, which has been structured, for reasons of presentation, into four chapters:

Women Photographers: Legacies and Impact;
Women Photographers: Biographies in Perspective;
Documentary Photographers and Committed Photojournalists;
Photography and Cinema: Approaches and Hypertexts.

Downloads

Metrics

PDF views

10

Author Biographies

Filomena Serra, Instituto de História Contemporânea, FCSH/Universidade NOVA de Lisboa/ IN2PAST

PhD in Contemporary Art History, she is an art historian and researcher at the Institute of Contemporary History at FCSH/Universidade NOVA de Lisboa/IN2PAST, in the Culture, Identities and Power Group. She was principal investigator of the FCT project Fotografia Impressa. Image and Propaganda in Portugal (1934-1974) PTDC/CPC-HAT/4533/2014.

Caterina Cucinotta, Facultad de Ciencias de la Comunicación Departamento de Periodismo y Comunicación Corporativa, Universidad Rey Juan Carlos, Madrid

Caterina Cucinotta, holding a Ph.D. in Communication Sciences from NOVA University of Lisbon, with a thesis on Film studies (2015), is currently lecture at Rey Juan Carlos University of Madrid, with a particular interest in researching, teaching and writing about the materiality turn of visual culture as a point of departure for an expanded study of Costume studies in Film Studies through textile archives.

References

Cabral, M. V. (2021). As mulheres do meu país. En F. Serra, P. André y S. Leal Rodrigues (Org.), En fotografía impresa e propaganda em Portugal no Estado Novo/Printed photography and propaganda in the Portuguese Estado Novo. Muga.

Cabral, M. V. (2020). Projectos editoriais e contradiscursos: libros ilustrados & fotolivros, 1940-1960. En F. Serra, P. André y S. Leal Rodrigues (Org.), Projectos editoriais e propaganda. Imagens e contra-imagens no Estado Novo. ICS.

Cabral, M. V. (2017). Texto e imagem fotográfica no primeiro contra-discurso durante o Estado Novo: “As mulheres do meu país” de Maria Lamas, Comunicação Pública, 12(23). http://journals.openedition.org/cp/1970.

Gunnarsson, L. (2011). A defence of the category ‘women’. Feminist Theory, 12(1), 23-37. https://doi.org/10.1177/1464700110390604

Keller, J. y Ware, K. (1994). Women photographers in Europe 1919-1939: An exhibition at the Getty Museum. History of Photography, 18(3), 219–222.

Lenot, M. (2 de agosto de 2021). Uma história de mulheres fotógrafas, escrita por mulheres. Crítica por Um homem. Artecapital. Magazine de Arte. https://www.artecapital.net/perspetiva-241-marc-lenot-uma-hista-ria-de-mulheres-fota-grafas-escrita-por-mulheres-cra-tica-por-um-homem-

Mann, M. y Noggle, A. (1975). Women of Photography: An Historical Survey. San Francisco Museum of Art.

Marques, J. F. y Noronha, D. P. de (2019). Considerações para uma Cinematografía de Mulheres: Uma análise do filme À Luz Delas (2019), de Nina Tedesco e Luana. Aniki, revista Portuguesa de Imagem em Movimento /Portuguese Journal of the Moving Image, 10(1). https://aim.org.pt/ojs/index.php/revista/article/view/869

Mayayo, P. (2003 [2015]). Historias de mujeres, historias del arte. Cátedra.

Pollock, G. (1988). Vision and diference. Feminity, feminism and the histories of art. Routledge.

Ryan, J. R. (2014). Introdução. Fotografía colonial. En O Império da Visão. Fotografia em contexto colonial português (1860-1960). Edições 70

Rosenblaum, N. (1994). History of Women Photographers. Abbeville Press Inc.

Strippoli, G. (2024). Female Gazes in the Communist Movement: Women Photographers in the Interwar Period and World War. Journal of Labor and Society, II, pp. 1–17.

Spivak, G. C. (1999). Pode a sulbalterna tomar a palavra? Orfeu Negro.

Subtil, F. (2024). Combatendo o fascismo e a opressão feminina: Maria Lamas e a fotorreportagem. En F. Subtil, J. N. Matos y C. B. (Ed.), Um Outro Jornalismo é Possível. Os Media Alternativos em Portugal. Edição Outro Modo.

Vicente, F. (Org.). (2014). O Império da Visão. Fotografia em contexto colonial português (1860-1960). Edições 70.

Vicente, F. (25 de septiembre de 2013). Rosita, o corpo como objecto de desejo. Público. https://www.buala.org/pt/corpo/rosita-e-o-imperio-como-objecto-de-desejo