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

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 .

Show description

Read Online or Download And the Mirror Cracked: Feminist Cinema and Film Theory PDF

Best movies books

Hoodwinked: Watching Movies with Eyes Wide Open

'Hoodwinked' is classic Dowbenko -- the simplest politically wrong motion picture experiences ever released. What do they wish you to think after you've got spent hours at nighttime staring at a film? What are the hidden meanings and mystery messages of renowned videos? those are the questions - and the idea of every of the reports during this publication.

Between Stillness and Motion: Film, Photography, Algorithms

Because the improvement of movie as a creative medium within the Nineties, there was an inherent stress among nonetheless photographic photos and relocating cinematic photos, from their shape and serve as to the messages they communicate and their influence at the beholder and on tradition at huge. This quantity, one of many first book-length works to research, critique, and extra the foreign debate concerning the that means and use of movement and stillness in movie and images, takes those innovations out of the theoretical enviornment of cinematic experiences and applies them to the broader and ever-changing panorama of pictures and media.

Unthinking Eurocentrism: Multiculturalism and the Media

Unthinking Eurocentrism, a seminal and award-winning paintings in postcolonial reviews first released in 1994, explored Eurocentrism as an interlocking community of buried premises, embedded narratives, and submerged tropes that constituted a largely shared epistemology. inside of a transdisciplinary research, the authors argued that the debates approximately Eurocentrism and post/coloniality has to be thought of inside a large ancient sweep that is going no less than way back to a few of the 1492s – the Inquisition, the Expulsion of Jews and Muslims, the Conquest of the Americas, and the Transatlantic slave exchange – a technique which culminates within the post-War makes an attempt to notably decolonize worldwide tradition.

Additional resources for And the Mirror Cracked: Feminist Cinema and Film Theory

Sample text

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.

Download PDF sample

Rated 4.78 of 5 – based on 32 votes