The Body and the Screen
Female Subjectivities in Contemporary Women’s Cinema
Seiten
2017
Bloomsbury Academic USA (Verlag)
978-1-62356-581-7 (ISBN)
Bloomsbury Academic USA (Verlag)
978-1-62356-581-7 (ISBN)
Winner of the British Association of Film, Television and Screen Studies Best Book Prize 2018
Since the 1980s the number of women regularly directing films has increased significantly in most Western countries; in France, Claire Denis and Catherine Breillat have joined Agnès Varda in gaining international renown, while British directors Lynne Ramsay and Andrea Arnold have forged award-winning careers in feature film. This new volume in the “Thinking Cinema” series draws on feminist philosophers and theorists from Simone de Beauvoir on to offer readings of a range of the most important and memorable of these films from the 1990s and 2000s, focusing as it does so on how the films convey women's lives and identities. Mainstream entertainment cinema traditionally distorts the representation of women, objectifying their bodies, minimizing their agency, and avoiding the most important questions about how cinema can "do justice" to female subjectivity. Kate Ince suggests that the films of independent women directors are progressively redressing the balance, reinvigorating both the narratives and the formal ambitions of European cinema. Ince uses feminist philosophers to interpret such films as Sex Is Comedy, Morvern Callar, White Material, and Fish Tank anew, suggesting that a philosophical understanding of female subjectivity as embodied and ethical should underpin future feminist film study.
Since the 1980s the number of women regularly directing films has increased significantly in most Western countries; in France, Claire Denis and Catherine Breillat have joined Agnès Varda in gaining international renown, while British directors Lynne Ramsay and Andrea Arnold have forged award-winning careers in feature film. This new volume in the “Thinking Cinema” series draws on feminist philosophers and theorists from Simone de Beauvoir on to offer readings of a range of the most important and memorable of these films from the 1990s and 2000s, focusing as it does so on how the films convey women's lives and identities. Mainstream entertainment cinema traditionally distorts the representation of women, objectifying their bodies, minimizing their agency, and avoiding the most important questions about how cinema can "do justice" to female subjectivity. Kate Ince suggests that the films of independent women directors are progressively redressing the balance, reinvigorating both the narratives and the formal ambitions of European cinema. Ince uses feminist philosophers to interpret such films as Sex Is Comedy, Morvern Callar, White Material, and Fish Tank anew, suggesting that a philosophical understanding of female subjectivity as embodied and ethical should underpin future feminist film study.
Kate Ince is Reader in French Film and Gender Studies at the University of Birmingham, UK.
Acknowledgements
List of Illustrations
Chapter 1 Female Subjectivity in Philosophy and Theory
Chapter 2 Feminist Film Studies and Women’s Cinema After Psychoanalysis
Chapter 3 Body
Chapter 4 Look
Chapter 5 Speech
Chapter 6 Performance
Chapter 7 Desire
Chapter 8 Freedom
Conclusion
Bibliography
Filmography
| Erscheinungsdatum | 12.01.2017 |
|---|---|
| Reihe/Serie | Thinking Cinema |
| Zusatzinfo | 12 bw illustrations |
| Verlagsort | New York |
| Sprache | englisch |
| Maße | 152 x 229 mm |
| Gewicht | 286 g |
| Themenwelt | Kunst / Musik / Theater ► Film / TV |
| Geisteswissenschaften ► Philosophie | |
| Sozialwissenschaften ► Politik / Verwaltung ► Politische Theorie | |
| Sozialwissenschaften ► Soziologie | |
| ISBN-10 | 1-62356-581-2 / 1623565812 |
| ISBN-13 | 978-1-62356-581-7 / 9781623565817 |
| Zustand | Neuware |
| Haben Sie eine Frage zum Produkt? |
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