The Gendered Screen

Canadian Women Filmmakers
Herausgeber: Austin-Smith, Brenda; Melnyk, George

• Broschiertes Buch

Produktbeschreibung

This book is the first major study of Canadian women filmmakers since the groundbreaking Gendering the Nation (1999). The Gendered Screen updates the subject with discussions of important filmmakers such as Deepa Mehta, Anne Wheeler, Mina Shum, Lynne Stopkewich, Léa Pool, and Patricia Rozema, whose careers have produced major bodies of work. It also introduces critical studies of newer filmmakers such as Andrea Dorfman and Sylvia Hamilton and new media video artists. Feminist scholars are re-examining the ways in which authorship, nationality, and gender interconnect. Contributors to this volume emphasize a diverse feminist study of film that is open, inclusive, and self-critical. Issues of hybridity and transnationality as well as race and sexual orientation challenge older forms of discourse on national cinema. Essays address the transnational filmmaker, the queer filmmaker, the feminist filmmaker, the documentarist, and the video artist-just some of the diverse identities of Canadian women filmmakers working in both commercial and art cinema today.

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Produktdetails

• Verlag: Wilfrid Laurier University Press
• Seitenzahl: 282
• Erscheinungstermin: 20. Mai 2010
• Englisch
• Abmessung: 228mm x 154mm x 19mm
• Gewicht: 417g
• ISBN-13: 9781554581795
• ISBN-10: 1554581796
• Artikelnr.: 27014288

Inhaltsangabe

Table of Contents for
The Gendered Scream: Canadian Women Filmmakers, edited by Brenda
Austin-Smith and George Melnyk
Acknowledgements
1. Introduction
Canadian Women Filmmakers: Re-imagining Authorship, Nationality, and Gender
Brenda Austin-Smith and George Melnyk
2. Feminist/Feminine Binaries and the Body Politic
The Art of Craft: The Films of Andrea Dorfman Andrew Burke
Feminist Ambiguity in the Film Adaptations of Lynne Stopkewich Lee
Parpart
On the Edge of Genre: Anne Wheeler's Interrogating Maternal Gaze Kathleen
Cummins
Fluidity: Joyce Wieland's Political Cinema Kay Armatage
3. Queer Nation and Popular Culture
The Art of Making Do: Queer Canadian Girls Make Movies Jean Bruce
Feminist Filmmaking and the Cinema of Patricia Rozema Agata Smoluch Del
Sorbo
Léa Pool: The Art of Elusiveness Florian Grandena
4. Transiting Nationality and the Battlefields of Otherness
On the Field of Battle: First Nations Women Documentary Filmmakers
Anthony Adah
Eradicating Erasure: The Documentary Film Practice of Sylvia Hamilton
Shana McGuire and Darrell Varga
Women, Liminality, and "Unhomeliness" in the Films of Mina Shum Brenda
Austin-Smith
Beyond Tradition and Modernity: The Transnational Universe of Deepa Mehta
Christina Stojanova
Les Québécoises Jerry White
Index
Contributors
Anthony Adah is an assistant professor in film studies at Minnesota State
University, Moorhead, Minnesota. He specializes in post-colonial cinemas,
especially those from settler states (Australia, Canada, and New Zealand)
and Africa. He is published in Postscript and Film Criticism and has a
forthcoming article in Pompeii. His current research projects include
theoretical exploration of authorship and genre in Nollywood as well as
land and memory in Aboriginal cinemas.
Kay Armatage is a professor cross-appointed to the Cinema Studies Institute
and Women and Gender Studies Institute, University of Toronto. She is the
author of The Girl from God's Country: Nell Shipman and the Silent Cinema
(University of Toronto Press, 2003) and co-editor of Gendering the Nation:
Canadian Women's Cinema (University of Toronto Press, 1999). She has also
directed documentary films, including Artist on Fire: The Work of Joyce
Wieland (1987). Her current research is on film festivals.
Brenda Austin-Smith is an associate professor in the Department of English,
Film, and Theatre at the University of Manitoba, where she teaches a
variety of courses, including Cult Film, Film and the City, and Film and
Affect. She has published on emotional responses to film melodrama,
symbolism in American literature, adaptation, the late novels of Henry
James, Patricia Rozema, Manitoba feature films, cinema memory and World War
II, and Lars von Trier.
Jean Bruce teaches film theory and cultural studies at Ryerson University
in the School of Image Arts, where she is currently the associate chair.
She also teaches visual culture in the joint graduate Program in
Communication and Culture at Ryerson and York universities. Her research
interests include melodrama, consumer culture, sexuality and the cinema,
and the home-improvement genre of reality television.
Andrew Burke is an assistant professor in the Department of English at the
University of Winnipeg, where he teaches critical theory, cultural studies,
and British literature and culture. His current project is on
representations of modernity and modernization in contemporary British
cinema, part of which is forthcoming in the journal Screen. His recent
articles on contemporary cinema and cultural theory have appeared in
Historical Materialism and English Studies in Canada.
Kathleen Cummins is a Ph.D. candidate in the graduate program in women's
studies at York University. Her doctoral research focuses on the
reconstruction of frontier histories in women's feminist cinemas. Kathleen
has taught film production, screenwriting, and media studies in a variety
of institutions, such as the Department of Film at York University, the
Media Arts Department at Sheridan College, and the Department of
Communication, Culture and Information Technology at the University of
Toronto Mississauga/Sheridan College. Her short films have been screened
and broadcast internationally.
Florian Grandena is assistant professor in the Department of Communication
of the University of Ottawa, where he teaches film studies. He researches
gay-themed French-speaking films, particularly the films of Olivier
Ducastel and Jacques Martineau, on which he is currently writing a book. He
is the author of Showing the World to the World: Political Fictions in
French Cinema of the 1980s and the early 2000s (Cambridge Scholars
Publishing, 2008) and co-editor of New Queer Images and Cinematic Queerness
(Peter Lang Publishing Group, 2010), which focus on the representations of
homosexualities in contemporary visual cultures in France and in Quebec.
Shana McGuire is completing a Ph.D. in French at Dalhousie University in
Halifax, Nova Scotia. Her doctoral research, funded by both the Killam
Foundation and the Social Sciences and Humanities Research Council,
examines representations of the body in contemporary French cinema, namely
the films of Catherine Breillat, Claire Denis, and Bruno Dumont. She has
taught film studies at Mount Saint Vincent University and at the Nova
Scotia College of Art and Design in Halifax.
George Melnyk is associate professor of Canadian Studies and Film Studies
in the Department of Communication and Culture, University of Calgary. He
is a cultural historian who has authored and edited over twenty books on
cultural and political issues relating to Canada. In the field of Canadian
cinema he has authored One Hundred Years of Canadian Cinema (2004) and
edited The Young, the Restless, and the Dead: Interviews with Canadian
Filmmakers (WLU Press, 2008) and Great Canadian Film Directors (2007). He
is currently completing a manuscript on urbanity in postmodern Canadian
cinema.
Lee Parpart is a Toronto-based writer and lecturer whose work on Canadian
cinema and visual culture has appeared in Canadian Art, POV, The Globe and
Mail, The Whig-Standard, The Canadian Journal of Film Studies, and Essays
on Canadian Writing. Her essays on gender and cinema and television
(including critical writings about Canadian filmmakers Lynne Stopkewich,
Patricia Rozema, and the American TV series Buffy the Vampire Slayer) have
appeared in numerous anthologies, including North of Everything:
English-Canadian Cinema since 1980, Gendering the Nation: Canadian Women's
Cinema, and Athena's Daughter's: Television's New Women Warriors. After a
care-giving hiatus of several years, she is completing a dissertation that
explores feminist film and new-media adaptations of Canadian women's
fiction.
Agata Smoluch Del Sorbo is a Toronto-based film programmer and writer who
has programmed Canadian feature films for the Toronto International Film
Festival since 2005. She holds an M.A. in film studies from York University
and has written articles on Patricia Rozema, Canadian cinema, and women's
filmaking. She has served on a number of film juries, including the Imagine
NATIVE Film Festival and the National Screen Institute and was a lecturer
in American cinema at the University of Genoa, Italy. Currently she is
completing a research project on national cinemas and cultural identity.
Christina Stojanova is an academic, curator, and writer who focuses on
cultural semiotics, gender, genre, and ethnic representation in Canadian
multicultural cinema, the cinema of Québec, and Russian and Eastern
European cinema. As a member of the Association of Quebec Film Critics, she
writes for a number of critical journals and sits on international film
festival juries. She also sits on the editorial boards of Rhodopi
Publishing House and of Studies in Eastern Europe Cinema. She is an
assistant professor in the Department of Media Production and Studies at
University of Regina. Among her major publications are chapters in Making
It Like a Man: Canadian Masculinities (2009), European Nightmares
(Wallflower, 2009), Berlin Culturescapes (University of Regina Press,
2008), The Cinema of Eastern Europe (Routledge, 2005), Traditions in World
Cinema (Edinburgh University Press, 2005), Horror International (Wayne
University Press, 2005), Cinema of Central Europe (Wallflower, 2005);
Alternative Europe: Eurotrash and Expoitation Cinema since 1945
(Wallflower, 2004). She is currently co-editing an anthology on
Wittgenstein on Film and a monograph on New Romanian Cinema.
Darrell Varga is associate professor and Canada Research Chair in
Contemporary Film and Media Studies at the Nova Scotia College of Art and
Design in Halifax. He is the co-editor of Working on Screen:
Representations of the Working Class in Canadian Cinema (2006) and editor
of Rain/Drizzle/Fog: Film and Television in Atlantic Canada (2007).
Jerry White is associate professor of Film Studies at the University of
Alberta. He is author of The Radio Eye: Cinema in the North Atlantic,
1958-1988 (Wilfrid Laurier University Press, 2009) and Of This Place and
Elsewhere: The Films and Photography of Peter Mettler (Toronto Film
Festival/Indiana University Press, 2006). He is the editor of The Cinema of
Canada (Wallflower Press, 2006), co-editor (with William Beard) of North of
Everything: English-Canadian Cinema since 1980 (U of Alberta Press, 2002),
and the former editor of the Canadian Journal of Irish Studies.