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This thesis analyzes films by Alina Marazzi (1964, Italy) and Maricarmen de Lara (1957, Mexico) within the context of the debate on cinematic realism and formal experimentation in feminist documentary films. The hypothesis is that feminist aspects in No les pedimos un viaje a la luna (1986) and ¿Más vale maña que fuerza? (2007) by Maricarmen de Lara, as well as in Un'ora sola ti vorrei (2002) and Vogliamo anche le rose (2007) by Alina Marazzi, emerge at four paradigms (form, content, production and reception), which are characterised by an understanding of objectivity as situated knowledge that allows the filmmakers to be accountable for their creative treatments of reality and the development of a subversive narrative cinema, in which the filmed women are (auto)represented in-and-out of gender. The selection of two filmmakers whose styles are different (observationalparticipatory realistic documentary with a political inclination on the one hand, reflexiveperformative documentary with an experimental inclination on the other hand), aims to bring into dialogue two streams that most feminist film theorists in the Seventies considered incompatible with each other. By adopting the perspective of situated knowledges (Haraway), I propose an alternative to the dichotomous view that tends to contrast and rank different approaches. Replacing the split between subject and object with the principle that the personal/private is political/public, I analyze Maricarmen's and Alina's films as inseparable from who they are/have been as gendered subjects that, on approaching feminism, work in a space in-and-out of gender where the contradictions between "the Woman" and women become evident. Their feminist cinema exploits the strategies of classic and/or narrative documentary "with a vengeance" (Lauretis): it exposes the inequities caused by androcentrism and becomes a vehicle for the expression of dissenting voices, rebellious bodies and self-conscious female subjects. 2.1.3 Del "Colectivo Cine Mujer" a la colaboración con grupos feministas mexicanos…………………………………………………………….. 40 2.1.4 Retos actuales para producir y distribuir cine documental feminista en México…………………………………………………………….. 47 2.2 No les pedimos un viaje a la luna (ópera prima, 1986)…………………… 52 2.2.1 Forma y contenido: del derrumbe a la autoconciencia………………. 53 2.2.2 Producción y recepción: estrategias ante la censura y la escasez de recursos……………………………………………………………….. 59 2.3 ¿Más vale maña que fuerza? (2007)……………………………………..... 61 2.3.1 Forma y contenido: voces de mujeres que cuestionan desde la cancha y el ring……………………………………………………………….. 62 2.3.2 Producción y recepción: un homenaje que detona debates………….... 72 Capítulo 3. El cine de Alina Marazzi. Documental feminista reflexivoperformativo como (re)visión de memoria, genealogías y modos de representación……………………………………………………………………. 75 3.1 Situación/Contextualización de la obra cinematográfica de Alina Marazzi…………………………………………………………………... 76 3.1.1 Pioneras del celuloide en Italia. El cine documental de Cecilia Mangini…………...