By Anneke Smelik
And The reflect Cracked explores the politics and pleasures of up to date feminist cinema. Tracing the effective ways that feminist administrators create replacement movie kinds, Anneke Smelik highlights cinematic concerns that are principal to feminist movies: authorship, standpoint, metaphor, montage, and the over the top photo. In a continual reflect video game among concept and cinema, this research explains how those cinematic concepts are used to symbolize girl subjectivity absolutely and affirmatively. one of the motion pictures thought of are A query of Silence, Bagdad Café, and Sweetie and the Virgin Machine.
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Additional resources for And the Mirror Cracked: Feminist Cinema and Film Theory
In a lecture about her film Sander phrases it as follows: A recurring angry attack on the film often starts with the words: 'But for me it was all quite different'. Indeed. That's my point. I want to hack at that again and again until the meaning of this sentence is finally understood. I tie this up with the question of how we learn history and what we learn from it. (Sander 1981: 5; translation AS) 6 I tend to see this position as (self-)consciously subjective, in the sense that it questions and interrogates the very form of subjectivity which it portrays.
In the newsreel footage shown, Sander is filmed from the back with the effect that her face is not visible and the film audience cannot see her speak. The director Sander walks in front of the image and takes a position on the right side of the screen watching herself, her profile dominating the historical image. The sequence thus problematizes women's struggle to become a speaking subject. Within the narrative of the film this had already been established by showing Anni's difficulties being accepted as one of the speakers at the student congress, precisely because she is not a Page 43 'representative'.
More recently, Foucault-inspired genealogical studies explore the relation between women and early film (Bruno 1993). In Chapter 5 I explore the cinematic image as a possible strategy for representations of female subjectivity. The issues of the female spectator and her viewing pleasure continue to dominate most of the agenda of feminist film theory, even though some major shifts in theoretical paradigms occurred towards the end of the 1980s. Two collections that are dedicated to the pleasures of the female audience, The Female Gaze (Gamman and Marshment 1988) and Female Spectators (Pribram 1988), are indicative of the turn away from psychoanalysis towards cultural studies.
And the Mirror Cracked: Feminist Cinema and Film Theory by Anneke Smelik