Download And the Mirror Cracked: Feminist Cinema and Film Theory by Anneke Smelik (auth.) PDF

By Anneke Smelik (auth.)

And The reflect Cracked explores the politics and pleasures of up to date feminist cinema. Tracing the hugely efficient ways that feminist administrators create substitute movie varieties, Anneke Smelik highlights cinematic concerns that are relevant to feminist movies: authorship, viewpoint, metaphor, montage and the over the top snapshot. In a continuing reflect online game among conception and cinema, this learn explains how those cinematic thoughts are used to symbolize girl subjectivity definitely and affirmatively. one of the motion pictures thought of are a question of Silence , Bagdad Cafe , Sweetie and The Virgin computing device .

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At a time in the mid 1970s when women filmmakers started making movies and female subjectivity became an issue for feminists, poststructuralist film theory declared it passe to theorize the author/subject. Both the glorification of the auteur and the death of the author/subject leave little leeway for female authors as subjects. In this sense, these dramatic shifts in paradigm make little difference to the continuing exclusion of women. It makes one wonder whether the 'artist as genius' and the 'death of the subject' are not two sides of the same coin; Andreas Huyssen seems to suggest as much (in Miller 1986: 106-7).

The male gaze is not a universal given but it is rather negotiated via whiteness: the black man's sexual gaze is socially prohibited. Racial hierarchies in ways of looking have created visual taboos, the neglect of which reflects back on film theory, which fails to account for the ways in which some social groups have the licence to look openly, while others can only 'look' illicitly. The racial structures of looking also have repercussions for structures of narrative. Gaines discusses the construction of the black man as rapist, while in What Meets the Eye 23 times of slavery and long after, it was the white man who raped black women.

It is important to note that the In Pursuit of the Author 37 New German Cinema, also known as Autorenkino, is the perfect example of auteurist criticism, with star directors like Fassbinder, Herzog and Wenders in the role of creative geniuses. Elsaesser (1989) argues that the notion of auteurism was present as early as the 1962 Oberhausen Manifesto and developed into the dominant tradition in film criticism. 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).

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