And the Mirror Cracked: Feminist Cinema and Film Theory by Anneke Smelik

By Anneke Smelik

And The replicate Cracked explores the politics and pleasures of latest feminist cinema. Tracing the efficient ways that feminist administrators create substitute movie kinds, Anneke Smelik highlights cinematic matters that are valuable to feminist movies: authorship, standpoint, metaphor, montage, and the over the top photo. In a continual replicate online game among thought and cinema, this research explains how those cinematic thoughts are used to symbolize woman subjectivity certainly and affirmatively. one of the movies thought of are A query of Silence, Bagdad Café, and Sweetie and the Virgin Machine.

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At the same time, the intricate temporality of the film makes the spectator aware of what has become of that utopian hope some thirteen years later, the year the film was made. This does not necessarily point to a disappointment, but rather to a sense of continuity, of what has been achieved and of what still needs to be achieved. In that sense, I think that the film succeeds in creating a genealogy for women, of writing women's history. In view of the many-layered notion of 'history', the irony of Sander's film title can be made apparent.

Within the fictional story the scene is related to Anni; both the woman in the present and the one in the past are supposed to be her. Jochum claims that this scene cannot be understood because most spectators would not recognize Sander either in the images of the present or of the past. Although this last point is true (I have never been able to identify Sander in either footage) Jochum's response is beside the point. Whether spectators actually recognize Sander, or think it is Anni, or maybe that one is Sander and the other Anni does not really matter, because in any of these cases the scene raises issues of time and history and of authentic versus fictional self: that is, it raises the question of subjectivity.

9 A distinctive trait of the New German Cinema is personal expression; Elsaesser calls it a 'cinema of experience' and he stresses that women's cinema is in some respects the best example of this because it combines personal self-expression with social responsiveness (1989: 183). As such, women's cinema could qualify as a perfect example of auteurism. This, however, is not the case. Knight (1992) argues that the characterization of New German Cinema as an auteur cinema has resulted instead in a marginalization of women's films.

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