In Women’s Cinema, World Cinema, Patricia White explores the dynamic intersection of feminism and film in the twenty-first century by highlighting the work of a new generation of women directors from around the world: Samira and Hana Makhmalbaf, Nadine Labaki, Zero Chou, Jasmila Zbanic, and Claudia Llosa, among others. The emergence of a globalized network of film festivals has enabled these young directors to make and circulate films that are changing the aesthetics and politics of art house cinema and challenging feminist genealogies. Extending formal analysis to the production and…mehr
In Women’s Cinema, World Cinema, Patricia White explores the dynamic intersection of feminism and film in the twenty-first century by highlighting the work of a new generation of women directors from around the world: Samira and Hana Makhmalbaf, Nadine Labaki, Zero Chou, Jasmila Zbanic, and Claudia Llosa, among others. The emergence of a globalized network of film festivals has enabled these young directors to make and circulate films that are changing the aesthetics and politics of art house cinema and challenging feminist genealogies. Extending formal analysis to the production and reception contexts of a variety of feature films, White explores how women filmmakers are both implicated in and critique gendered concepts of authorship, taste, genre, national identity, and human rights. Women’s Cinema, World Cinema revitalizes feminist film studies as it argues for an alternative vision of global media culture.
Patricia White is Professor of Film and Media Studies at Swarthmore College. She is the author of Uninvited: Classical Hollywood Cinema and Lesbian Representability, coauthor of The Film Experience, and coeditor of Critical Visions in Film Theory. She has worked extensively with Women Make Movies and the journal Camera Obscura: Feminism, Culture, and Media Studies.
Inhaltsangabe
Acknowledgments vii Introduction 1 1. To Each Her Own Cinema. World Cinema and the Woman Cineaste 29 Jane Campion's Cannes Connections 30 Lucrecia Martel's Vertiginous Authorship 44 Samira Makhmalbaf's Sororal Cinema 56 2. Framing Feminisms. Women's Cinema as Art Cinema 68 Deepa Mehta's Elemental Feminism 76 Iranian Diasporan Women Directors and Cultural Capital 88 3. Feminist Film in the Age of the Chick Flick. Global Flows of Women's Cinema 104 Engendering New Korean Cinema in Jeong Jae-eun's Take Care of My Cat 108 Nadine Labaki's Celebrity 120 4. Network Narratives. Asian Women Directors 132 Two-Timing the System in Nia Dinata's Love for Share 136 Zero Chou and the Spaces of Chinese Lesbian Film 142 5. Is the Whole World Watching? Fictions of Women's Human Rights 169 Sabiha Sumar's Democratic Cinema 175 Jasmila banic's Grbavica and Balkan Cinema's Incommensurable Gazes 181 Claudia Llosa's Trans/national Address 187 Afterword 199 Notes 203 Bibliography 235 Filmography 247 Index 251
Acknowledgments vii Introduction 1 1. To Each Her Own Cinema. World Cinema and the Woman Cineaste 29 Jane Campion's Cannes Connections 30 Lucrecia Martel's Vertiginous Authorship 44 Samira Makhmalbaf's Sororal Cinema 56 2. Framing Feminisms. Women's Cinema as Art Cinema 68 Deepa Mehta's Elemental Feminism 76 Iranian Diasporan Women Directors and Cultural Capital 88 3. Feminist Film in the Age of the Chick Flick. Global Flows of Women's Cinema 104 Engendering New Korean Cinema in Jeong Jae-eun's Take Care of My Cat 108 Nadine Labaki's Celebrity 120 4. Network Narratives. Asian Women Directors 132 Two-Timing the System in Nia Dinata's Love for Share 136 Zero Chou and the Spaces of Chinese Lesbian Film 142 5. Is the Whole World Watching? Fictions of Women's Human Rights 169 Sabiha Sumar's Democratic Cinema 175 Jasmila banic's Grbavica and Balkan Cinema's Incommensurable Gazes 181 Claudia Llosa's Trans/national Address 187 Afterword 199 Notes 203 Bibliography 235 Filmography 247 Index 251
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