Barbara Zecchi

Barbara Zecchi, PhD University of California Los Angeles, is Professor of Film and Iberian Studies and Director of the Film Studies Program at the University of Massachusetts Amherst. She has published widely on feminist film theory, women filmmakers, and adaptation theory. In addition to about hundred articles and numerous video-essays, she is the author, editor or co-editor of eleven volumes, including The Gendered Screen (2014), Age/ing and Iberian Cinemas (2021), and Gender-Based Violence in Latin American and Iberian Cinemas (2020). In 2011 she launched the Gynocine Project on women’s cinema. In 2017 she was elected Member of the Academy of Motion Picture Arts and Sciences of Spain.

The 100 Best Movies of the 21st Century: “All About Numbers: 100 Films – 11 Women”

VIDEO-ESSAY. If anything shines in 21st-century film production, it is the remarkable presence of female filmmakers. Yet The New York Times list includes only 11 titles by women – and just 1 by a woman of color. Barbara Zecchi’s “All About Numbers: 100 Films – 11 Women” lifts the curtain of discrimination to reveal what lies beneath and provocatively envisions an alternative list.

169 Seconds: Improbable Dialogisms or Dancing as an Act of Defiance

169 SECONDS. At 16:9 we are celebrating our 20th anniversary this year with a series of 169 Seconds video essays about films, series, documentaries, etc. made since the journal was launched in 2003. In this first installment, Barbara Zecchi traces unlikely intertextual connections between four notable dance scenes in Dogtooth, Raw, Titane and Ema.

169 Seconds: Improbable Dialogism or the Art of Flying

169 SECONDS. This installment of 169 Seconds by Barbara Zecchi deconstructs the controversial ending of Scott and Khouri’s Thelma and Louise by putting it into an improbable intertextual dialogue with two other unrelated films—namely Vittorio De Sica’s Miracolo a Milano (1951) and Steven Spielberg’s E.T. (1982).