In specifically with women. It has become

In recent years, Latin American women filmmakers have achieved
unprecedented prominence in mainstream cinema such as Lucrecia Martel, Claudia
Llosa and Lucia Puenzo.  Often times,
Latin American women filmmakers work is much less celebrated, however women
working in production and directing have realised the importance of the
political impact that women film makers now have. This has created a shift from
the public and overt politics, to a politics of the personal and private often
found through their work (Martin, Shaw:2017). B. Ruby Rich (1997) acknowledges
the close ties between politics and aesthetics and points to how women’s
filmmaking takes up the aesthetic challenge. Nuala Finnegan examines the notion
of ‘exhaustion of difference’ (Moireiras:2001) which argues that there is a
fatigue surrounding the critical perspectives on ethnic, class, culture and
generic differences. Moireiras (2001) goes on to discuss the ‘exhaustion’ with
the gender question more specifically with women. It has become imperative to
raise explicit feminist questions in relation to cultural production in Latin
America. Despite the recent boom and prominence in Latin cinema by women and a
wider circulation of their films it can be noted that there is still a tendency
visible in much critical writing on the subject of Latin American cinema that
it has erased it systematically as a separate and distinct category. Much of
the critical theory and analysis being generated under the rubrics of Latin
American cinema is notable for its evasiveness with regard to the question of
the ‘woman’s questions’ and gender (Finnegan, 1980).  Finnegan argues that much of the climate of Latin
American cultural studies is not conducive to feminist analysis. Latin American
cinema is closely linked to the social and political context of Latin America.
Many of women filmmakers in Latin America come from more privileged backgrounds
and have some European origin and are all to some extent members of the
intellectual elite, they have all encountered both resistance and hostility and
struggling in some cases to have much of their films produced or distributed
(Finnegan, 1980). For example, Claudia LLosa is the niece of Peruvian film
director and play writer Mario Vargas Llosa and received a communications
degree from the University of Lima which placed her in the intellectual elite
circle as well as exposed her to more opportunities than the average Latin
American women. However, as a woman film director in Latin America, she has
also experienced challenges within the social and cinematic context. This has
given women filmmakers a platform to highlight the persistence of social and
cultural divisions within Latin America.  Women filmmakers have used this platform to
also narrate through visuals which reinscribe women in the same way as a
testimonio. These films do not always have to take the form of the linear
narratives in style but can also be multi-layered, encouraging a non-monolithic
perception of women and history. 

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