Synopses & Reviews
In
Womenandrsquo;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:and#160; 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.
Womenandrsquo;s Cinema, World Cinema revitalizes feminist film studies as it argues for an alternative vision of global media culture.
Review
andquot;
Womenand#39;s Cinema, World Cinema is an exciting book for the connections that Patricia White expertly draws and explicates between text and context, auteur and society, national and global. Her knowledge of the particularities of individual directors and national cinemas is remarkable, as is her familiarity with their relevant histories and critical literatures.
Womenand#39;s Cinema, World Cinema is a major work that will transform how these films and filmmakers are viewed and studied.andquot;
About the Author
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.
Table of Contents
Acknowledgmentsand#160;and#160; vii
Introductionand#160;and#160; 1
1. To Each Her Own Cinema. World Cinema and the Woman Cineasteand#160;and#160; 29
Jane Campionand#39;s Cannes Connectionsand#160;and#160; 30
Lucrecia Marteland#39;s Vertiginous Authorshipand#160;and#160; 44
Samira Makhmalbafand#39;s Sororal Cinemaand#160;and#160; 56
2. Framing Feminisms. Womenand#39;s Cinema as Art Cinemaand#160;and#160; 68
Deepa Mehtaand#39;s Elemental Feminismand#160;and#160; 76
Iranian Diasporan Women Directors and Cultural Capitaland#160;and#160; 88
3. Feminist Film in the Age of the Chick Flick. Global Flows of Womenand#39;s Cinemaand#160;and#160; 104
Engendering New Korean Cinema in Jeong Jae-eunand#39;s Take Care of My Catand#160;and#160; 108
Nadine Labakiand#39;s Celebrityand#160;and#160; 120
4. Network Narratives. Asian Women Directorsand#160;and#160; 132
Two-Timing the System in Nia Dinataand#39;s Love for Shareand#160;and#160; 136
Zero Chou and the Spaces of Chinese Lesbian Filmand#160;and#160; 142
5. Is the Whole World Watching? Fictions of Womenand#39;s Human Rightsand#160; 169
Sabiha Sumarand#39;s Democratic Cinemaand#160;and#160; 175
Jasmila and#381;banicand#39;s Grbavica and Balkan Cinemaand#39;s Incommensurable Gazesand#160;and#160; 181
Claudia Llosaand#39;s Trans/national Addressand#160;and#160; 187
Afterwordand#160;and#160; 199
Notesand#160;and#160; 203
Bibliographyand#160;and#160; 235
Filmographyand#160;and#160; 247
Indexand#160; 251