By Jacqueline Levitin, Valerie Raoul, Judith Plessis
What distinction does it make at the present time whilst a girl wields the digital camera? what's the dating of the paintings and adventure of ladies filmmakers now to feminism and feminist idea? Have problems with gender in motion pictures by way of girls been eclipsed by means of problems with race and sophistication? How has the placement of girls filmmakers replaced during the last two decades? girls Filmmakers: Refocusing is a ground-breaking choice of essays that turns a severe eye at the often-overlooked paintings of girls filmmakers. This wide-ranging quantity comprises contributions from fashionable filmmakers and students, resembling Helma Sanders Brahms, Deepa Metha, Pratibha Parmar, Margarethe von Trotta, Ann Wheeler, and E. Ann Kaplan. Questions of background and concept, style, creativity, investment and distribution, nationwide and cultural identification, and sophistication all come to the fore during this unheard of examine of women's movie tradition. both available to non-specialists and researchers alike, this booklet could have nice attract filmmakers, movie experiences college and scholars, movie buffs, and people with an curiosity in women's reports and cultural stories.
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Additional resources for Women Filmmakers: Refocusing
Bigelow’s films are produced within Hollywood’s mainstream film industry context, with a crew. p65 34 15/10/2002, 10:23 AM Part 1: Refocusing History and Theory 35 theory of “author-name” authorship, and her work confounds this argument. Obviously she works with other people on her films, but she appears to have managed to work with and for empathetic people (and I don’t mean in a cosy sense). Although Point Break was not, to begin with, a personally initiated project, she was the director the producers kept returning to when they were setting up the film’s production.
12 The original suggestion that the filmmaker should be an auteur was a matter of policy, not of theory: it was about the desire for a cinema of selfexpression, a generational revolt on the part of the young Cahiers du cinéma critics, who were demanding a break with the persistently traditional mainstream French cinema, which they saw as heavy, entrenched, and tied to the wordiness of the theatre-inspired script. They spoke about auteurs because they desperately wanted to claw the creative centre away from the writers of these scripts.
What all the films have in common is an attempt to see differently – to see, as far as possible, outside of the constraints of prior Western modes. 10 These films offer opportunities to examine how looking is conceived, what looking is possible, what boundaries there are to looking relations, and how White body stereotypes are contested yet cause inter- as well as intrapersonal conflict. 11 All of the films challenge normative spectator-screen relations: these films confront the spectator with unfamiliar worlds as well as with unfamiliar perspectives on these worlds.
Women Filmmakers: Refocusing by Jacqueline Levitin, Valerie Raoul, Judith Plessis