Victim blaming after a rape still happens, women should not dress like a ‘slut’ otherwise they might get raped and if a woman enjoys sex, she is a ‘slut’. The SlutWalk movement stands up against...Show moreVictim blaming after a rape still happens, women should not dress like a ‘slut’ otherwise they might get raped and if a woman enjoys sex, she is a ‘slut’. The SlutWalk movement stands up against these problems from a feminist perspective. The research question of this thesis is what is the difference between the perception of indigenous and white feminism on la Marcha de las Putas in Ecuador? With the following hypothesis: the concerns and ideas of indigenous women in Ecuador are not taken into account within la Marcha de las Putas, this results in a lack of representation within the SlutWalk movement. The main goal of feminism is equality between men and women. The earlier definition of feminism, written by De Beauvoir (1949) and Butler (1988) will be complemented with the many, contemporary, forms of feminism by, along with others, Ross (2009) and Stefanovici (2016). Feminism in Latin America and indigenous feminism in Ecuador specifically is researched by Bastain Duarte (2012), Sternbach et al (1992) and Hernández Castillo (2002; 2010). The historical and cultural context of the SlutWalk is studied by, among others, O’Keefe (2014) and Healicon (2013). For some women, it is hard to reclaim the word ‘slut’ based on negative historical connections with the word and there is stated that the SlutWalk is a white feminist movement. There is too little research about the connection between indigenous feminism and the SlutWalk. Therefore the case study will be a content analysis of the manifest of la Marcha de Las Putas in Ecuador, whereby the use of the words ‘puta’ and ‘nos’ are being analyzed. The problems indigenous women have with the SlutWalk are not addressed in the manifest, the word ‘puta’ is reclaimed without thinking of the consequences for some women and race and ethnicity is not addressed at all. There is a lack of inclusivity within la Marcha de las Putas in Ecuador.Show less
This thesis focuses on human rights film festivals, in particular Movies that Matter Festival (MTMF) – a relatively small yet significant human rights film festival based in the Netherlands....Show moreThis thesis focuses on human rights film festivals, in particular Movies that Matter Festival (MTMF) – a relatively small yet significant human rights film festival based in the Netherlands. Alongside the festival itself, I investigate the MTMF 2019 film program and the process of film programming leading to its creation. As a film festival with a focus on human rights issues, one can expect MTMF to attempt a varied and all-encompassing approach to its selection of themes and films. Although MTMF does not centre its film programming (and consequently its film program) to gender and genre inclusivity, it is precisely this that offers an opportunity for the study of gender and genre. In this thesis, I examine how MTMF, and specifically the film programming undertaken in 2019, draws on recent developments in contemporary human rights theory in order to implement inclusivity and diversity. As I shall establish, inclusivity and diversity are pillars of both critical film festival studies and human rights film festivals. To achieve this goal, I have organized this thesis into three main chapters. In the first chapter, I study the significance of the “Universal Declaration of Human Rights” (1948) to human rights theory and human rights film festivals today. Moreover, I investigate the fundamental theoretical concepts from human rights theory that apply to the field of human rights film festivals. In the second chapter, I closely examine 50502020 Pledge for Gender Parity and Inclusion in Film Festivals (2018) and study the MTMF 2019 film program from the perspective of gender and genre. I question the impact a film programmer’s, as well as filmmaker’s gender, may have on a film, especially given that the majority of films released in both commercial and art-house cinemas present the male gaze, as I shall demonstrate. I end with a third chapter that offers a close analysis of the process of film programming, an area which my research reveals to be sadly under-examined by film festival scholars. Here, I delve into the methods and power structures of film selection, deriving from film programmers’ presupposed ideas of on what a human rights film and a human rights film festival could be.Show less
