By Cybelle H. McFadden
Gendered Frames, Embodied Cameras: Varda, Akerman, Cabrera, Calle, and Maiwenn is the 1st publication to hyperlink those 5 filmmakers jointly via an research of the connection among filming one s personal physique and the artistic physique.
Through engaged creative practices, those girl filmmakers flip the digital camera to their our bodies so one can convey the method of inventive construction and to provide themselves as filmmakers and artists of their paintings from 1987 2009. by way of making seen their our bodies, they give a much broader diversity of illustration of girls in French movie.
Through avant-garde shape, during which tangible corporeal parts are made photograph, they remodel representational content material and convey new cinematic our bodies with the facility to steer signifying practices in modern French tradition. through rendering seen their inventive perform and praxis and their digital camera of their paintings reflexive practices that still unite those filmmakers those ladies additionally visually declare the position of filmmaker and artistic topic.
Thus they determine their authority in a movie within which girls s participation and popularity in their achievements have traditionally been less than that in their male counterparts."
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Extra resources for Gendered Frames, Embodied Cameras: Varda, Akerman, Cabrera, Calle, and Maïwenn
Judith Butler and Elizabeth Weed (Bloomington: Indiana University Press, 2011), 208. 8. For a detailed analysis of her work, see Alison McMahan, Alice Guy Blaché: A Lost Visionary (New York: Continuum, 2002). In addition, the Women Film Pioneers Project led by Jane Gaines has fostered much research on female filmmakers’ accomplishments in the early cinema period. Her book, Fictioning Histories: Women Film Pioneers, likewise documents women’s previously understudied contributions to early cinema.
Laure Adler, Le cercle de minuit, on France 2, Paris, April 15, 1997. 16. Palmer, Brutal Intimacy, 217–22. 17. Robyn R. , Feminisms: An Anthology of Literary Theory and Criticism, 2nd ed. (New Brunswick, NJ: Rutgers University Press, 1997). 18. Joanna Russ, How to Suppress Women’s Writing (Austin: University of Texas Press, 1983). 19. Judith Butler and Elizabeth Weed, “Introduction,” in The Question of Gender: Joan W. Scott’s Critical Feminism, ed. Judith Butler and Elizabeth Weed (Bloomington: Indiana University Press, 2011), 3.
Tarr, Cinéma and the Second Sex, 159. 79. , 159. 80. Palmer, Brutal Intimacy, 156. 81. Françoise Audé, Cinéma d’elles 1981–2001 (Lausanne: Éditions L’Age d’Homme, 2002). 82. Janis L. Pallister and Ruth A. Hottell, Noteworthy Francophone Women Directors: A Sequel (Madison, NJ: Fairleigh Dickinson University Press, 2011). The cover of the book features Varda’s Autoportrait (2009), a close-up of her aged face in a shattered mirror that was exhibited in her installation “La mer . . et sètera” (2009).