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 types, Anneke Smelik highlights cinematic matters that are significant to feminist motion pictures: authorship, standpoint, metaphor, montage, and the over the top photograph. In a continuing replicate video game among conception and cinema, this research explains how those cinematic thoughts are used to symbolize woman 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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Extra info for And the Mirror Cracked: Feminist Cinema and Film Theory
Although both discourse and story are forms of enunciation, the speaking subject is positioned differently within them. In the former the subject is present, whereas in the latter, s/he is masked. Although Metz identifies traditional cinema as pure story, he immediately qualifies this statement by adding that cinema is indeed discourse, if the filmmaker's intentions are taken into account. However, the basic characteristic of cinematic discourse is that it masks all traces of the enunciation. In other words, cinema is a discourse that passes itself off as story (1982: 91).
In Chapter 3 I will discuss such a configuration of racialized sexuality as depicted in the film Dust. Interventions such as Gaines' show that the category of race reveals the untenability of many one-sided beliefs within feminist film theory, and points to the necessity of contextualizing and historicizing sexual difference. Thus, Lola Young (1996) examines the representation of black female sexuality by situating films in their historical and social context. Intersecting theories of sexual difference with those of differences of race and sexual preference, along with ethnicity and class, will eventually make other forms of representation thinkable, although Young argues convincingly that white and black filmmakers find it hard to challenge stereotypical images of black women.
Consequently, Sander has chosen not to subordinate the fictional level to any form of documentary report. By intercutting authentic material into staged scenes she indicates that The Subjective Factor is not an imitation of historical events but a specific representation of those events. The Subjective Factor is generally situated within the context of a return to history in German cinema and literature of the late 1970s and early 1980s, a cultural-political situation also known as 'New Subjectivity' or 'New Sensitivity' (see Mueller 1983, McCormick 1991).
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