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 replacement movie kinds, Anneke Smelik highlights cinematic matters that are relevant to feminist motion pictures: authorship, viewpoint, metaphor, montage and the over the top photograph. In a continual reflect online game among thought and cinema, this research explains how those cinematic ideas are used to symbolize girl subjectivity definitely and affirmatively. one of the movies thought of are a query of Silence , Bagdad Cafe , Sweetie and The Virgin desktop .

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The sequence thus problematizes women's struggle to become a speaking subject. Within the narrative of the film this had already been established by showing Anni's difficulties being accepted as one of the speakers at the student congress, precisely because she is not a In Pursuit of the Author 43 'representative'. Her argument that women might form a class in the Marxist sense, and that she might represent women, is met with a roar of laughter. Her idea, presented with great uncertainty and hesitation, is considered to be truly non-Marxist and hence ridiculous.

Auteur theory came under attack, mostly in British Marxist structuralist circles around the journal Screen, for the romantic idealism of its definition of the author and its lack of solid theoretical foundations. Peter Wollen is among the first to reformulate auteurism by invoking structuralism in his widely read Signs and Meaning in the Cinema (1972). Relying on Levi-Strauss, Wollen applies structural analysis to the study of film as myth, that is to say as an artifice that is carefully structured according to accountable cultural codes.

We got the point that making a film about women's history involves difficulties because so little is actually recorded or preserved. Paradoxically, the emphasis on historical discontinuities gave us a sense of continuity. What this memory shows is the importance of films that evoke experience. The Subjective Factor manages to capture the experiences of women in the early stages of the second wave of feminism and presents spectators with a strong representation of the making of feminist consciousness through a variety of devices, not the least of which is its selfconscious appeal to feminist viewers to recognize the immediacy of certain experiences - some negative (male derision), some positive (women's self-assertion).

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