Anneke Smelik (auth.)'s And the Mirror Cracked: Feminist Cinema and Film Theory PDF

By Anneke Smelik (auth.)

ISBN-10: 0312211422

ISBN-13: 9780312211424

ISBN-10: 0333920414

ISBN-13: 9780333920411

ISBN-10: 0333994701

ISBN-13: 9780333994702

And The reflect Cracked explores the politics and pleasures of up to date feminist cinema. Tracing the hugely efficient ways that feminist administrators create substitute movie types, Anneke Smelik highlights cinematic matters that are primary to feminist motion pictures: authorship, perspective, metaphor, montage and the over the top photo. In a continual reflect video game among thought and cinema, this research explains how those cinematic ideas are used to symbolize woman subjectivity absolutely and affirmatively. one of the movies thought of are a question of Silence , Bagdad Cafe , Sweetie and The Virgin desktop .

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

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I want to hack at that again and again until the meaning of this sentence is finally understood. I tie this up with the question of how we learn history and what we learn from it. (Sander 1981: 5; translation AS) 6 I tend to see this position as (self-)consciously subjective, in the sense that it questions and interrogates the very form of subjectivity which it portrays. Consequently, Sander has chosen not to subordinate the fictional level to any form of documentary report. By intercutting authentic material into staged scenes she indicates that The Subjective Factor is not an imitation of historical events but a specific representation of those events.

The history of cultural studies in the USA is somewhat different as it developed out of the necessity for interdisciplinary work on contemporary culture and is consequently more related to issues of postmodern culture than is the case in Britain. Because Andrew Ross quite rightfully remarks that 'postmodernism means many things to many people' (1988: vii), I am careful to define postmodernism here as a historical condition: it is the complex and often contradictory culture of postindustrial society.

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. 2 In Pursuit of the Author: On Cinematic Directorship If you know a film is by a woman, don't ignore that knowledge.

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And the Mirror Cracked: Feminist Cinema and Film Theory by Anneke Smelik (auth.)


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