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OverviewFull Product DetailsAuthor: Cybelle H. McFaddenPublisher: Fairleigh Dickinson University Press Imprint: Fairleigh Dickinson University Press Dimensions: Width: 15.30cm , Height: 1.80cm , Length: 22.50cm Weight: 0.372kg ISBN: 9781611479607ISBN 10: 1611479606 Pages: 246 Publication Date: 15 April 2016 Audience: College/higher education , Postgraduate, Research & Scholarly Format: Paperback Publisher's Status: Active Availability: Manufactured on demand  We will order this item for you from a manufactured on demand supplier. Table of ContentsContents Acknowledgments Introduction: Gendered Frames, Embodied Cameras in Contemporary French Cinema (1987-2009) Section I: Self-Authorization Through Self-Representation Chapter One: Reflected Reflexivity: Agnès Varda’s Aging Female Body Chapter Two: Enacted Reflexivity: Chantal Akerman par Chantal Akerman Chapter Three: Hybrid Reflexivity: Dominique Cabrera’s Half-Body, Half-Camera Section II: Self-Construction Through Faux Narratives Chapter Four: Orchestrated Reflexivity: Sophie Calle’s Narrative Body as Artist Chapter Five: Faux Reflexivity: Maïwenn’s Camera and the Female Body Conclusion: Reflections on Gendered Frames, Embodied Cameras Bibliography Index About the AuthorReviewsMcFadden presents an original and thought-provoking overview of a particular strategy in women's filmmaking, which will be of interest to any future researchers of this theme, in France or further afield. French Studies Chapters function both independently and inter-dependently, which is a great advantage for those who teach French cinema, as chapters can easily be pulled as readings, just as the entire book can be assigned for courses on Contemporary French Cinema or Women's Filmmaking in France. The book is a welcomed addition to scholarship on all five filmmakers, particularly to the few published explorations on Maiwenn, which tend to focus on Polisse (2011). The book will be of interest to enthusiasts, scholars, and students of French Studies, FilmStudies, and Contemporary Feminist and Gender Studies. The French Review McFadden presents an original and thought-provoking overview of a particular strategy in women's filmmaking, which will be of interest to any future researchers of this theme, in France or further afield. * French Studies * Chapters function both independently and inter-dependently, which is a great advantage for those who teach French cinema, as chapters can easily be pulled as readings, just as the entire book can be assigned for courses on Contemporary French Cinema or Women’s Filmmaking in France. The book is a welcomed addition to scholarship on all five filmmakers, particularly to the few published explorations on Maïwenn, which tend to focus on Polisse (2011). The book will be of interest to enthusiasts, scholars, and students of French Studies, FilmStudies, and Contemporary Feminist and Gender Studies. * The French Review * McFadden presents an original and thought-provoking overview of a particular strategy in women's filmmaking, which will be of interest to any future researchers of this theme, in France or further afield. * French Studies * Chapters function both independently and inter-dependently, which is a great advantage for those who teach French cinema, as chapters can easily be pulled as readings, just as the entire book can be assigned for courses on Contemporary French Cinema or Women's Filmmaking in France. The book is a welcomed addition to scholarship on all five filmmakers, particularly to the few published explorations on Maiwenn, which tend to focus on Polisse (2011). The book will be of interest to enthusiasts, scholars, and students of French Studies, FilmStudies, and Contemporary Feminist and Gender Studies. * The French Review * Author InformationCybelle H. McFadden is assistant professor of French and is also a member of the Women’s and Gender Studies Program faculty at the University of North Carolina at Greensboro. Tab Content 6Author Website:Countries AvailableAll regions |
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