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

Año de publicación: 2023

Título del ejemplar: Deconstrucción y reapropiación feminista del espacio en el arte

Número: 43

Páginas: 143-161

Tipo: Artículo

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

Otras publicaciones en: Asparkia: Investigació feminista

Resumen

El filme biográfico en su forma más convencional ha tenido como objetivo principal venerar las vidas y obras de ilustres hombres blancos en su consagración de figuras heroicas. Al reapropiarse de este género para celebrar el activismo de Rosa Parks, Julie Dash consigue otorgarle a una mujer afroamericana la distinción de heroína monumental, un trato poco frecuente para las mujeres negras en el cine comercial. Sin embargo, Julie Dash juega con la forma y rompe los moldes al reflexionar sobre la construcción mediática de las narrativas heroicas. The Rosa Parks Story celebra la complejidad de Parks como ser humano y activista comprometida, y la sitúa en el interior del colectivo de activistas que participaron en las revueltas por los derechos civiles en Estados Unidos. El resultado es un filme elegante, profundo y reflexivo que pone el foco sobre el papel influyente de Rosa Parks y sus «hermanas en la lucha» (Collier-Thomas y V.P. Franklin, 2001, p. 4) en un movimiento cimentado en poderosas alianzas que fueron más allá del reconocido boicot a los autobuses de Montgomery.

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Fuente de los datos: Dialnet