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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This article, initially written in French as Le Rire de l. a. Meduse in 1975, was once translated into English by means of Keith and Paula Cohen in 1976.  Cixous is issuing her woman readers an ultimatum of varieties: both they could learn it and select to stick trapped of their personal our bodies via a language that doesn't let them show themselves, or they could use their our bodies which will converse.
40 years after throwing off the shackles of a patriarchy that required not anything under marriage and infants from its girl voters, ladies proceed to fall prey to the normal knowledge that you just "grow up, get married and feature kids. " this is often simply the end of the melting ice berg. whereas our planet struggles to take care of the over 6.
Legends and emerging stars of feminist movie and video inform their stories.
Alexandra Juhasz requested twenty-one girls to inform their stories-women whose names make up a who's (and who could be) who of self reliant and experimental movie and video. What emerged within the ensuing conversations is a compelling (and formerly underdocumented) historical past of feminism and feminist movie and video, from its origins within the fifties and sixties to its apex within the seventies, to today.
Interviewees: Pearl Bowser, Margaret Caples, Michelle Citron, Megan Cunningham, Cheryl Dunye, Vanalyne eco-friendly, Barbara Hammer, Kate Horsfield, Carol Leigh, Susan magnate, Juanita Mohammed, Frances Negrón-Muntaner, Eve Oishi, Constance Penley, Wendy Quinn, Julia Reichert, Carolee Schneemann, Valerie Soe, Victoria Vesna, and Yvonne Welbon.
A Room of One's personal is a longer essay through Virginia Woolf, first released on 24 October 1929
The name of the essay comes from Woolf's belief that, "a lady should have cash and a room of her personal if she is to write down fiction".
Woolf notes that girls were saved from writing due to their relative poverty, and monetary freedom will convey girls the liberty to put in writing; "In the 1st position, to have a room of her personal. .. used to be out of the query, except her mom and dad have been enormously wealthy or very noble".
The identify additionally refers to any author's want for poetic license and the private liberty to create art.
The essay examines even if girls have been able to generating, and in reality loose to supply paintings of the standard of William Shakespeare, addressing the restrictions that prior and current ladies writers face.
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Additional info for And the Mirror Cracked: Feminist Cinema and Film Theory
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.