Download And the Mirror Cracked: Feminist Cinema and Film Theory by Anneke Smelik PDF

By Anneke Smelik

And The reflect Cracked explores the politics and pleasures of latest feminist cinema. Tracing the effective ways that feminist administrators create substitute movie kinds, Anneke Smelik highlights cinematic matters that are valuable to feminist motion pictures: authorship, viewpoint, metaphor, montage, and the over the top photo. In a continual replicate video game among conception and cinema, this research explains how those cinematic recommendations are used to symbolize lady subjectivity certainly and affirmatively. one of the movies thought of are A query of Silence, Bagdad Café, and Sweetie and the Virgin Machine.

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Extra info for And the Mirror Cracked: Feminist Cinema and Film Theory

Example text

In the final chapter I concentrate on feminist forms of representation which are not specific to cinema: abjection and humour. In my readings of feminist cinema I will pick up and elaborate on some threads out of the large fabric of feminist film theory, adding new material and new colours and reweaving them into a different pattern. First and foremost, however, I turn my attention to the films themselves. Page 28 2 In Pursuit of the Author: On Cinematic Directorship If you know a film is by a woman, don't ignore that knowledge.

This similarity does not, however, qualify women's cinema as an example of auteurism, as will become clear below in the analysis of New German Cinema. The bias towards masculinism fuelled feminist attacks on auteurism. Johnston reproaches Sarris for the 'derogatory treatment of women directors' in his work and quotes the editors of Women and Film who describe auteurism as 'an oppressive theory making the director a superstar as if film-making were a one-man show' (1991: 26). Yet, Johnston also defends auteurism for the new insight it produces and more especially for its elevation of Hollywood cinema to the same status as art cinema.

In a later collection, Kaplan (1988) places work on popular culture within the framework of postmodernism. A collection from the journal Camera Obscura, on the popular genre of science-fiction films, also shows this postmodern trend of working through and hence beyond psychoanalysis into a broader approach to cultural criticism (Penley et al. 1991). More recently, lesbian film studies has also moved to popular culture and to the question of postmodernity (Doan 1994, Hamer and Budge 1994, Wilton 1995, Hoogland 1997).

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