By Anneke Smelik (auth.)
And The reflect Cracked explores the politics and pleasures of latest feminist cinema. Tracing the hugely efficient ways that feminist administrators create substitute movie kinds, Anneke Smelik highlights cinematic matters that are vital to feminist movies: authorship, viewpoint, metaphor, montage and the over the top photograph. In a continuing replicate online game among idea and cinema, this research explains how those cinematic suggestions are used to symbolize girl subjectivity absolutely and affirmatively. one of the motion pictures thought of are a query of Silence , Bagdad Cafe , Sweetie and The Virgin desktop .
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Additional resources for And the Mirror Cracked: Feminist Cinema and Film Theory
Although Modleski wants to rethink 'the articulations of popular culture and political criticism', she does not want to celebrate 'this culture as politically progressive so as to legitimate and protect one's private pleasures' (1991: ix). She criticizes ethnographic researchers for neglecting the viewer's unconscious in their zeal to undo the excesses of psychoanalytically based textual analysis. They fail to recognize for instance that female spectators (or readers) may contradict themselves, thus creating a notion of 'resistance' or 'subculture' that is devoid of inner tensions.
Knight ventures no speculation for these contradictory trends in film criticism and for the gender-laden oppositions they create. For me, however, this is a rather blatant example of familiar double standards to the detriment of women filmmakers, due to the culturally induced bias that equates genius with men and acts accordingly in the realm of canon formation. Ignorance also plays a part: the critical reception suggests that the most innovative elements in feminist filmmaking, a shift in consciousness and the redefinition of subjectivity, are being missed or misunderstood.
For me, however, this is a rather blatant example of familiar double standards to the detriment of women filmmakers, due to the culturally induced bias that equates genius with men and acts accordingly in the realm of canon formation. Ignorance also plays a part: the critical reception suggests that the most innovative elements in feminist filmmaking, a shift in consciousness and the redefinition of subjectivity, are being missed or misunderstood. 10 It is in such a framework that auteurism inflicts the final blow to the emerging subjectivity of women filmmakers and inhibits serious 38 And the Mirror Cracked consideration of their work.
And the Mirror Cracked: Feminist Cinema and Film Theory by Anneke Smelik (auth.)