Using the framework of self-representation, this book rethinks problems of representation of the female body in French cinema and contemporary French culture. By filming themselves, these filmmakers visually claim their roles, establish their authority in the field, and expose new ways to configure representation, gender, and cinema.
Using the framework of self-representation, this book rethinks problems of representation of the female body in French cinema and contemporary French culture. By filming themselves, these filmmakers visually claim their roles, establish their authority in the field, and expose new ways to configure representation, gender, and cinema.
Cybelle H. McFadden is assistant professor of French and is also a member of the Women's and Gender Studies Program faculty at the University of North Carolina at Greensboro.
Inhaltsangabe
Contents Acknowledgments Introduction: Gendered Frames, Embodied Cameras in Contemporary French Cinema (1987-2009) Section I: Self-Authorization Through Self-Representation Chapter One: Reflected Reflexivity: Agnès Varda's Aging Female Body Chapter Two: Enacted Reflexivity: Chantal Akerman par Chantal Akerman Chapter Three: Hybrid Reflexivity: Dominique Cabrera's Half-Body, Half-Camera Section II: Self-Construction Through Faux Narratives Chapter Four: Orchestrated Reflexivity: Sophie Calle's Narrative Body as Artist Chapter Five: Faux Reflexivity: Maïwenn's Camera and the Female Body Conclusion: Reflections on Gendered Frames, Embodied Cameras Bibliography Index About the Author
Contents Acknowledgments Introduction: Gendered Frames, Embodied Cameras in Contemporary French Cinema (1987-2009) Section I: Self-Authorization Through Self-Representation Chapter One: Reflected Reflexivity: Agnès Varda's Aging Female Body Chapter Two: Enacted Reflexivity: Chantal Akerman par Chantal Akerman Chapter Three: Hybrid Reflexivity: Dominique Cabrera's Half-Body, Half-Camera Section II: Self-Construction Through Faux Narratives Chapter Four: Orchestrated Reflexivity: Sophie Calle's Narrative Body as Artist Chapter Five: Faux Reflexivity: Maïwenn's Camera and the Female Body Conclusion: Reflections on Gendered Frames, Embodied Cameras Bibliography Index About the Author
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