Get And the Mirror Cracked: Feminist Cinema and Film Theory PDF

By Anneke Smelik

ISBN-10: 0333920414

ISBN-13: 9780333920411

And The replicate Cracked explores the politics and pleasures of up to date feminist cinema. Tracing the efficient ways that feminist administrators create substitute movie kinds, Anneke Smelik highlights cinematic concerns that are vital to feminist movies: authorship, perspective, metaphor, montage, and the over the top photograph. In a continuing replicate video game among concept and cinema, this learn explains how those cinematic options are used to symbolize girl subjectivity absolutely 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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Extra info for And the Mirror Cracked: Feminist Cinema and Film Theory

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The subjective factor is constructed not as an essence but as something in between: 'the subjective factor can be found between subjectivity and objectivity, between documentary and fiction, between factual events and narrated events, between images and representations' (Förster 1982: 11). This in-betweenness represents female subjectivity in terms of process rather than in essentialist terms. Sander's cinematic style in The Subjective Factor is reminiscent of the Russian filmmaker Sergej Eisenstein's concept of intellectual montage that he describes as a conflictual combination of several intellectual effects simultaneously (1987: 193).

Thomas Elsaesser (1989) draws attention to the 'traumatic' nature of Anni's experience of her confrontation with her past, or rather with the multilayered time sequences that make up her life. What is striking about The Subjective Factor is the extent to which the questions of female subjectivity determine the cinematic form and vice versa. For Roswitha Mueller (1983) this film actually portrays the experience of the female director. This is reflected both in the blurring of the genres — the mixture of documentary and fiction — and in the breakdown of the distinction between the character and the filmmaker.

The female subject that emerges from my reading of The Subjective Factor is very much a social agent, referring to the first level of will, agency and history in my proposed analytic framework. But she is also the subject of her memories, desires and fantasies; moreover, Anni's attempts at self-determination are presented as the process of acquiring feminist consciousness. Past/Passed Authors The case of the complex subjectivity structure in The Subjective Factor, and of the consequences for the role of the director is relevant to the discussion of auteurism in film theory.

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And the Mirror Cracked: Feminist Cinema and Film Theory by Anneke Smelik

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