La narrativa biográfica como contradiscurso feminista en «The Rosa Parks Story» (2002) de Julie Dash

  1. María Platas-Alonso 1
  1. 1 Universidade de Vigo
    info

    Universidade de Vigo

    Vigo, España

    ROR https://ror.org/05rdf8595

Revista:
Asparkia: Investigació feminista
  1. Luquin Calvo, Andrea (ed. lit.)
  2. Ferrer García, Alberto (ed. lit.)
  3. Raga Vives, Anna (ed. lit.)

ISSN: 1132-8231

Ano de publicación: 2023

Título do exemplar: Deconstrucción y reapropiación feminista del espacio en el arte

Número: 43

Páxinas: 143-161

Tipo: Artigo

DOI: 10.6035/ASPARKIA.7206 DIALNET GOOGLE SCHOLAR lock_openDialnet editor

Outras publicacións en: Asparkia: Investigació feminista

Obxectivos de Desenvolvemento Sustentable

Resumo

The traditional biographical film was aimed to venerate illustrious white men as heroic figures. By reappropriating this conventional genre to celebrate Rosa Parks’ activism, Julie Dash succeeds in giving an African-American woman the treatment of a monumental heroine, a rare approach to black women in mainstream cinema. However, Julie Dash plays with the classical form and breaks the moulds by reflecting on the construction of heroic narratives. The Rosa Parks Story celebrates Parks’ complexity as a human being and an activist, but it carefully places her amid a larger community, the network that dynamically played the role of the collective agent of the revolts that eventually changed US history. The result is an elegant, complex and self-reflexive film that brings light to the influential role of Rosa Parks and her «sisters in the struggle» (Collier-Thomas and V.P. Franklin, 2001, p. 4) in a crucial movement based on powerful bonds that went beyond the Montgomery bus boycott.

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Fonte de datos: Dialnet