By Anneke Smelik (auth.)
And The reflect Cracked explores the politics and pleasures of latest feminist cinema. Tracing the hugely effective ways that feminist administrators create replacement movie varieties, Anneke Smelik highlights cinematic matters that are imperative to feminist motion pictures: authorship, viewpoint, metaphor, montage and the over the top photograph. In a continuing reflect video game among thought and cinema, this learn explains how those cinematic concepts are used to symbolize girl subjectivity absolutely and affirmatively. one of the motion pictures thought of are a question of Silence , Bagdad Cafe , Sweetie and The Virgin laptop .
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Additional resources for And the Mirror Cracked: Feminist Cinema and Film Theory
The specific structural, stylistic and thematic features of their respective films tend to be assessed within the narrow confines of this spurious genre, to the detriment of their individual characteristics. Moreover, as Knight also points out, German critics tend to classify all female filmmakers under feminism, thus flattening out their singularity even further. Even more puzzling are the idiosyncracies as well as the nature of the critical evaluation of personal expression in the New German Cinema.
Rather than asserting an authori- In Pursuit of the Author 45 tative feminist voice, The Subjective Factor seeks simultaneously to represent and to perform women's struggle and uncertainty to speak. The precarious positioning of enunciation gives shape to the unrepresentable. Sander's cinematic style enables her to visualize female subjectivity as a (dis)continuous process; the process of women becoming feminists. My 'cine-structuralist' reading of the cinematic author in terms of enunciation, suggests that forms of filmic narration are of the utmost importance for representations of female, feminist subjectivity.
In this view, psychoanalytic film theory leads to a universalist and reductionist approach to subjectivity. It conceives of ideology as monolithic, leaving no room for contradictions in cinematic practices. One of the main omissions of such a transhistorical approach, argues Pribram, is the disregard for the socio-historical context in which female spectators actually watch movies or television. This criticism revives the tension between politics and pleasure I mentioned earlier. The neglect of the female spectator, as individual or as a social group, has resulted in a feminist endorsement of alternative cinema and, simultaneously, in a dismissal of mainstream cinema.