ABSTRACT

In this article we analyse the Italian compilation films Un’ora sola ti vorrei (Alina Marazzi, 2002) and Pays Barbare (Yervant Gianikian and Angela Ricci Lucchi, 2013) as examples, respectively, of feminist counter-cinema and decolonial countervisuality working with and against audiovisual archives. By means of a close-reading of the two films from an intersectional feminist perspective, we discuss: on the one hand, the ways in which Marazzi contests the rigid gender performativity of home movies, by restituting her mother’s memory and exposing her sense of discomfort; on the other hand, the strategies employed by Gianikian and Ricci Lucchi in their dismantling of the sexism and racism of the colonial archive, while also warning about the fascist past haunting the present.

摘要

在本文中，我们分别分析了意大利合辑电影Un'ora sola ti vorrei（Alina Marazzi，2002 年）和Pays Barbare（Yervant Gianikian 和 Angela Ricci Lucchi，2013 年）分别作为女权主义反电影和非殖民反视觉与和反对视听档案。通过从交叉女权主义的角度仔细阅读这两部电影，我们讨论了：一方面，马拉齐通过恢复母亲的记忆和暴露她的不适感来对抗家庭电影严格的性别表演性的方式; 另一方面，Gianikian 和 Ricci Lucchi 在拆除殖民档案中的性别歧视和种族主义时所采用的策略，同时也警告了困扰现在的法西斯过去。