Tania Villanueva López

Tania Villanueva López
Image Credit: © Tania Villanueva López

International Research Training Group "Between Spaces"

Movements, Actors and Representations of Globalisation

PhD Candidate

Field of Activity

Project: "Concave-feminist constructs and grammars of audiovisual montage in Latin America (1986-2012)"

Email tania.villanueva@comunidad.unam.mx

Since 6/2012

PhD in History of Arts (Film and Gender studies), Faculty of Philosophy and Letters, Universidad Nacional Autónoma de México, Mexico

2009 - 2010

Masters in Aesthetics and Theory of Art, Faculty of Philosophy and Literature, Universitat Autònoma de Barcelona, Barcelona, Spain. (According to renewal of the Secretariat of Public Education, Master of Arts, in the line of Aesthetic Theories, Universidad de Guanajuato, Mexico).

2003 - 2008

Degree of Arts, Faculty of Arts, Universidad Autónoma del Estado de Morelos, Mexico.

2006 - 2007

Research fellowship in Instituto Universitario de Estudios Superiores de Artes Plásticas Armando Reverón, Caracas, Venezuela.

1998 - 2000

Film direction studies in the Государственный Университет Культуры и Искусств Московский. (State University of Moscow Art and Culture), Moscow, Russia. Fellow of the Ministry of culture of the Russian Government.

Work experience


Teacher's course in the Bachelor of Art and Cultural Heritage, Universidad Autónoma de la Ciudad de México (UACM)


Project Assistant: “Cultivate the aesthetic value of the cinema in children and young people with low resources. Education in human values through art cinema.” Scholarship CONACULTA program support for municipal and community cultures, PACMYC, Videoteca Macondo Art Cinema, Puebla, Mexico

2003 - 2007

Teacher of Film Appreciation and History of Cinema. Universidad de Jurisprudencia y Humanidades, S.C. BUAP program, Puebla, Mexico


2012 Researcher, cinematographer and still photo. Curatorial - catalogue of the art project “Tea for 2 Mexico” project. Interactive performance by the artist Weihong, Mafalda Budib curator. Puebla, Mexico.
2012 The reflection of Trinidad (play, co-author). Representation of the play through the Embassy of the Bolivarian Republic of Venezuela in Berlin at the event “With woman's face” in the framework of the international day for the Elimination of Violence Against Women, in Jugendwiderstandsmuseum Galiläakirche, 9-10, 10247 Rigaer Straße, Berlin, Germany.
2007 Assistant in the workshop of documentary projects. First Festival de la Memoria, Latin American documentary in Tepoztlan, recognition through the Faculty of Arts of the Universidad Autónoma del Estado de Morelos, Tepoztlan, Mexico.

“Concave-feminist constructs and grammars of audiovisual montage in Latin America (1986-2012)”


Supervisor: Prof. Dr. Riánsares Lozano de la Pola (UNAM)

This project addresses issues of representation, subjectivities and restitution of bodies in the media. The aim of this inquiry is to distinguish an assembly, an exercise in feminist assembly, for a possible film "contraescritura" by studying peripheral experimental film productions and video art made between 1986 and 2012 in Latin America.


This exploration is woven and articulated from a heterogeneous corpus of film achievements made by women filmmakers, collectives and subaltern subject who revolt with the lens and their bodies, compared with other Latin American contexts of domination, violence, discrimination, oppression, injustice and historic invisibility.


By tracking statements and expressions of urgency, the intention is to recognize, in audiovisual expressions of that period, a type of constituted and reactivated montage from the search for not only symbolic restitution of subjectivities, but also dialectical and constitutive of the bodies in a permanent dialogue between a strong personal place and a declarative community.


To recognize and examine the motives, traits and modes of feminist discourse assembly of this analysis, the concept of "concave assemblies” is introduced and developed. This proposal comes in mounting concavity of the questions, statements and reports of the new Latin American cinema (60-70 years), feminism (actions, practices and film theories) and video art. In turn, in this triangulation are crossed and included other artistic expressions, cognitive and empowerment tools, such as performance (seen from the video art) and weaving (identified as folk artistic practices).


In addition to this, to study the discursive and establishing an alternate assembly of audiovisual constructs, it is part of the ideas of theoretical and applied semiotic theorists movie (Mitry, Metz, Kristeva, De Lauretis, Barthes), who identify cinema as an art of movement, expressive and communicative tool and also as a potential language that has a highly significant process.

In the direction of the foregoing, it delves into the observation of the joint audiovisual constructs continuity to the question posed by this significant process in film, undertaken by theoretical and research feminists (Mulvey, De Lauretis, Kuhn, Millan, Pech , Juhasz, Kaplan, Johnston, Cusicanqui). The aforementioned film as distinguished thinkers core of gender technologies, and to identify, in their representation mechanisms, functions very attached to the beginning of this cinematic art, such as produce, reproduce and preserve joints and representations of inequalities symbolic. This is done by way of ideological control sites and reproduction of violence, in relation to the prime locations of looking and articulate, the view favored registration and distribution channels.


To explain the central term of this project, the notion of concavity which has been explored by feminist Luce Irigaray in the image concave mirror is resumed. Through this idea, the author founded a parallel with the subversive need for women, which projects, strategically, in an interior that is not controlled by male subjects that range from the outside.


To convey, with a twist turning, into a space that raises other forms of recognition, a territory that proposed the idea of a genuine own mirror of femininity which turns on itself and reveals an unconscious that is rediscovered, in turn, terminates the comfort, security and external intervention subjects. It is, then, an encounter with an interior that new forms of recognition models based on self-reflection.


Therefore, although the starting point of this research, to some extent draws on the powerful inquiries Irigaray, in this review of the assembly's term concavity it takes to boot the territory of its own or intimate reflections, to meet an opening, refraction and multiple exchange according to the Community dimension of the subjects. It can be seen in the arrangement of hollowness of the term, the involvement of immersion and inclusion, ie participatory look, a look that invites us to look from a position internalized located and shared is discovered.