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OverviewSince 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 theorists and critics 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, and thereby reinvigorating both the narratives and the formal ambitions of European cinema. Ince uses feminist philosophers to cast a new veil over such films as Sex Is Comedy, Morvern Callar, White Material, and Fish Tank; and includes a timeline ofdevelopments in women's film-making and feminist film theory from 1970 to 2011. Full Product DetailsAuthor: Kate Ince (University of Birmingham, UK)Publisher: Bloomsbury Publishing Plc Imprint: Bloomsbury Academic USA Dimensions: Width: 15.20cm , Height: 2.00cm , Length: 22.90cm Weight: 0.449kg ISBN: 9781623562922ISBN 10: 1623562929 Pages: 208 Publication Date: 12 January 2017 Audience: Professional and scholarly , Professional & Vocational Format: Hardback Publisher's Status: Active Availability: Manufactured on demand  We will order this item for you from a manufactured on demand supplier. Table of ContentsChapter 1: Introduction I: female subjectivity in theoryand criticism Chapter 2: Introduction II: feminist film theory afterpsychoanalysis Chapter 3: Body - Key films Romance, The Gleaners and I, The Beaches of Agnes, FishTank Chapter 4: Look - Key films Wasp,Orlando, The Tango Lesson, BriefCrossing Chapter 5: Speech- Key films Nocturnal Uproar, Romance, Brief Crossing, Mrs Dalloway Chapter 6: Performance- Key films No Sex Last Night, The Tango Lesson, Why (Not) Brazil? My Little Princess Chapter 7. Desire - Key films Sex Is Comedy, Morvern Callar, Fish Tank,White Material Chapter 8. Freedom - Key films Romance, Vendredi soir, Brief CrossingReviewsThis trenchant volume makes a fine and timely contribution to the field of film philosophy in its examination of how the work of leading feminist philosophers may be brought into dialogue with film. Through Simone de Beauvoir and others, Ince makes a case for rigorous thought about embodied female subjectivity as explored through cinema. This she addresses in close readings of works by the major British and French female directors of the last two decades. Whether in her discussion of the phenomenological geography of Agnes Varda's 'film-world' or of performed co-authorship in Sally Potter, Ince is an acute and erudite interlocutor. The Body and the Screen will quickly become a work of reference in its field. -- Emma Wilson, Professor of French Literature and the Visual Arts, University of Cambridge, UK This trenchant volume makes a fine and timely contribution to the field of film philosophy in its examination of how the work of leading feminist philosophers may be brought into dialogue with film. Through Simone de Beauvoir and others, Ince makes a case for rigorous thought about embodied female subjectivity as explored through cinema. This she addresses in close readings of works by the major British and French female directors of the last two decades. Whether in her discussion of the phenomenological geography of Agnes Varda's 'film-world' or of performed co-authorship in Sally Potter, Ince is an acute and erudite interlocutor. The Body and the Screen will quickly become a work of reference in its field. Emma Wilson, Professor of French Literature and the Visual Arts, University of Cambridge, UK The Body and the Screen makes a fine contribution to the field of film philosophy in its examination of how feminist phenomenology can be brought into dialogue with female subjectivity in film. EuropeNow This trenchant volume makes a fine and timely contribution to the field of film philosophy in its examination of how the work of leading feminist philosophers may be brought into dialogue with film. Through Simone de Beauvoir and others, Ince makes a case for rigorous thought about embodied female subjectivity as explored through cinema. This she addresses in close readings of works by the major British and French female directors of the last two decades. Whether in her discussion of the phenomenological geography of Agnes Varda's 'film-world' or of performed co-authorship in Sally Potter, Ince is an acute and erudite interlocutor. The Body and the Screen will quickly become a work of reference in its field. -- Emma Wilson, Professor of French Literature and the Visual Arts, University of Cambridge, UK This trenchant volume makes a fine and timely contribution to the field of film philosophy in its examination of how the work of leading feminist philosophers may be brought into dialogue with film. Through Simone de Beauvoir and others, Ince makes a case for rigorous thought about embodied female subjectivity as explored through cinema. This she addresses in close readings of works by the major British and French female directors of the last two decades. Whether in her discussion of the phenomenological geography of Agnes Varda's 'film-world' or of performed co-authorship in Sally Potter, Ince is an acute and erudite interlocutor. <i>The Body and the Screen</i> will quickly become a work of reference in its field. <i>Emma Wilson, Professor of French Literature and the Visual Arts, University of Cambridge, UK</i> Author InformationDr Kate Ince, Reader in French Film and Gender Studies, Univ. of Birmingham. Tab Content 6Author Website:Countries AvailableAll regions |
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