By Gwendolyn Audrey Foster
Formerly, there hasn't been one single-volume authoritative reference paintings at the historical past of ladies in movie, highlighting approximately each girl filmmaker from the sunrise of cinema together with Alice man (France, 1896), Chantal Akerman (Belgium), Penny Marshall (U.S.), and Sally Potter (U.K.). each attempt has been made to incorporate all kinds of girl filmmaker: advertisement and mainstream, avant-garde, and minority, and to offer an entire cross-section of the paintings of those extraordinary ladies. students and scholars of movie, pop culture, Women's reviews, and overseas reports, in addition to movie buffs will research a lot from this work.
The Dictionary covers the careers of approximately two hundred girls filmmakers, giving important records the place to be had, listings of movies directed by way of those ladies, and chosen bibliographies for extra examining. this can be a one-volume, one-stop source, a accomplished, up to date advisor that's totally crucial for any path providing an summary or survey of women's cinema. It deals not just all to be had statistics, yet serious reviews of the filmmakers' paintings besides. with a purpose to preserve the size conceivable, this quantity specializes in girls who direct fictional narrative movies, with occasional forays into the world of the documentary and is proscribed to movie creation instead of video construction.
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Additional resources for Women Film Directors: An International Bio-Critical Dictionary
I agree with Trinh T. Minh-ha's statement, "The claim of identity is often a strategic claim" (157), and I am drawn to her own claim that I make a distinction between an alienating notion of Otherness (The Other of man, the Other of the West) and an empowering notion of difference. As long as Difference is not given to us, the coast is clear. (185) Sri Lankan filmmaker Laleen Jayamanne speaks of filmmaking itself as an interventionist strategy against Western subjugation/signification: This is where filmmakers can intervene, the conditions for the rapid transformation of the culture are there, Adynata, a kind of pastiche of images of Orientalism, [is] meant as a condemnation of a certain Western or colonial gaze.
Subaltern cinema is not unlike the Subaltern Studies collective, which Spivak locates as oppositionally involved in "bringing hegemonic historiography to crisis" (1987, 198). Like the Subaltern Studies collective, Trinh T. Minh-ha has come under attack for her desire to articulate identity within a critical discursive practice, most recently by Sara Suleri, who disagrees with many of the presumptions of Trinh T. Minh-ha. Suleri deems Trinh's "radical subjectivity" as "low grade romanticism" (761).
Feminist critics have spent many pages scrutinizing this scene, sometimes missing the humor inherent in such a treatment of sexuality. Next, the woman makes love to another woman in a highly charged sequence which attracted a great deal of attention from feminist critics. Because the camera records the action in a scientific manner, the scene has often been noted for its self-conscious display of dehumanization and lack of visual pleasure. But, as Andrea Weiss points out, in Vampires and Violets: Lesbians in Film, this "absolutely uneroticized lesbian lovemaking scene must be credited for its courage in 1974, especially given that it includes the filmmaker in the scene and rejects art cinema conventions governing lesbian sexuality" (114).