Women's cinema

This is a textbook written for the general education course of the same title, but it is also a new film history book including a few often-neglected threads: first, women directors of different periods and nations are included; second, important documentary directors are included along side the account of fictional film directors; third, the east-west cultural interaction and mutual influence are put into a more prominent place; last but not least, the book also includes major trends of Chinese cinemas in and outside China.

This is Chapter 7 of Lingzheng Wang ed. Chinese Women's Cinema: Transnational Contexts, published by Columbia University Press in 2012. This chapter focuses on four female directors of China's "Fifth Generation": Peng Xiaolian, Li Shaohong, Hu Mei and Liu Miaomiao. It has two parts--(Re)wrting Women's Histories/Stories, and, (Re)mapping Women's Spaces/Place--that respectively discusses these female writer's contribution in writing about women and the unique ways they used in exploring cinematic spaces.

Livro sobre a história do cinema mundial sob perspectiva inédita, que é a feminina. Através dos 22 capítulos, a obra contempla o cinema dos primórdios aos dias atuais.
"A abrangência do recorte do livro é ousada, ao agrupar nacionalidades emblemáticas e histórias em momentos chave do cinema, como o período silencioso; a revolucionária União Soviética; a Alemanha nazista; a América Latina, com ênfase na Argentina, México e Brasil; o cinema chinês; o cinema africano; o cinema iraniano; o cinema indiano; o cinema português. Com viés politicamente emergente, temos os capítulos com as cineastas ameríndias e afirmações raciais no Rio de Janeiro. Destacam-se, entre dezenas de outras cineastas, Agnès Varda, Chantal Akerman, Naomi Kawase, Carolee Schneemann, Trinh-T M Ha, diretoras com reconhecido vigor em suas obras. Estudos sobre a espectatorialidade, a teoria feminista, o cinema lésbico e a pornografia feminina no cinema, também aqui presentes, demarcam o potencial epistemológico do pensamento sob a perspectiva das mulheres." (Da Apresentação)

No prefácio, diz Ilana Feldman: “Extremamente atual e imprescindível, o livro Mulheres de cinema traça um panorama do cinema realizado por mulheres de toda parte do globo terrestre, do Ocidente ao Oriente, do Norte ao Sul, do passado ao presente. Aos nomes das cineastas Alice Guy Blaché, Lois Weber, Esfir Chub, Leni Riefenstahl, Carolee Schneemann, Agnès Varda, Laura Mulvey, Chantal Akerman, Helena Solberg, Naomi Kawase, Trinh T. Minh-ha, María Novaro, María Luisa Bemberg, Lucrecia Martel, Safi Faye, Samira Makhmalbaf e Mira Nair, somam-se ainda estudos sobre realizadoras ameríndias, africanas, chinesas, portuguesas, iranianas, indianas, latinas, lésbicas, jovens, veteranas e pioneiras. A proposta é ousada e o panorama, vertiginoso. Tomadas pelo espanto, não conseguimos deixar de nos perguntar: Onde estávamos que nunca ouvimos falar dessa ou daquela realizadora? Por onde andávamos que nunca assistimos a uma imagem sequer de uma penca de filmes analisados? Onde elas se encontram e por onde circulam suas vozes e imagens?”

SUMÁRIO

Prefácio - “Ela é um outro”: por uma outra história do cinema
Ilana Feldman

Apresentação – Histórias de cinema para mulheres e homens
Karla Holanda

As ruidosas mulheres do cinema silencioso 
Flávia Cesarino

Notas introdutórias sobre Esfir Chub: soviética, revolucionária e mestra dos mestres do cinema
Neide Jallageas

A cineasta de Hitler: o cinema de Leni Riefenstahl
Wagner Pinheiro Pereira

Mulheres e direção cinematográfica na América Latina: uma visão panorâmica a partir das pioneiras
Marina Cavalcanti Tedesco 

¿El rey ha muerto? Breve panorama sobre as cineastas argentinas e seus filmes
Alcilene Cavalcante  | Natalia Christofoletti Barrenha

Revisitando tradições do cinema mexicano: Lola (1989) e a trajetória de María Novaro
Maurício de Bragança

O outro lado da lua no cinema brasileiro
Karla Holanda

Mulheres negras nas ruas do Rio de Janeiro: cidades generificadas e racializadas
Ana Paula Alves Ribeiro

O caminho do retorno: o cinema feito pelas cineastas ameríndias
Clarisse Alvarenga

Mulheres de imagem: reflexões sobre o cinema africano no feminino
Janaína Oliveira

A metade do céu: mulheres e o cinema da China Continental
Cecília Mello

Mulheres no cinema iraniano: perspectivas criativas e ideológicas frente à intervenção estatal
Alessandra Meleiro

A mulher na direção cinematográfica indiana
Juily Manghirmalani

FemCinema: breve história das mulheres cineastas em Portugal 
Ana Catarina Pereira 

Teoria e crítica feminista: do contracinema ao filme acontecimento
Ana Maria Veiga

A in/visibilidade lésbica no cinema
Ramayana Lira de Sousa | Alessandra Soares Brandão 

De mulher para mulher: o campo do pornográfico para o deleite dos femininos
Mariana Baltar

Notas sobre os estudos de espectatorialidade feminina: percorrendo caminhos e chaves de análise 
Regina Gomes | Letícia Moreira 

Imagens que sei delas: ensaio e feminismo no cinema de Varda, Akerman e Kawase
Roberta Veiga

A montagem como inventário: corpos, gestos e olhares no cinema de Agnès Varda
Patrícia Machado

Carolee Schneemann visita Jane Wodening e Hortense Fiquet, essas adoráveis convidadas no domínio masculino
Patrícia Mourão

De intervalos e deslocamentos: o cinema de Trinh T. Minh-ha
Carla Maia

Livro com 22 capítulos sobre a história do cinema mundial na inédita perspectiva feminina. A obra contempla o cinema dos primórdios aos dias atuais.
"A abrangência do recorte do livro é ousada, ao agrupar nacionalidades emblemáticas e histórias em momentos chave do cinema, como o período silencioso; a revolucionária União Soviética; a Alemanha nazista; a América Latina, com ênfase na Argentina, México e Brasil; o cinema chinês; o cinema africano; o cinema iraniano; o cinema indiano; o cinema português. Com viés politicamente emergente, temos os capítulos com as cineastas ameríndias e afirmações raciais no Rio de Janeiro. Destacam-se, entre dezenas de outras cineastas, Agnès Varda, Chantal Akerman, Naomi Kawase, Carolee Schneemann, Trinh-T M Ha, diretoras com reconhecido vigor em suas obras. Estudos sobre a espectatorialidade, a teoria feminista, o cinema lésbico e a pornografia feminina no cinema, também aqui presentes, demarcam o potencial epistemológico do pensamento sob a perspectiva das mulheres." (Da Apresentação)

No prefácio, diz Ilana Feldman: “Extremamente atual e imprescindível, o livro Mulheres de cinema traça um panorama do cinema realizado por mulheres de toda parte do globo terrestre, do Ocidente ao Oriente, do Norte ao Sul, do passado ao presente. Aos nomes das cineastas Alice Guy Blaché, Lois Weber, Esfir Chub, Leni Riefenstahl, Carolee Schneemann, Agnès Varda, Laura Mulvey, Chantal Akerman, Helena Solberg, Naomi Kawase, Trinh T. Minh-ha, María Novaro, María Luisa Bemberg, Lucrecia Martel, Safi Faye, Samira Makhmalbaf e Mira Nair, somam-se ainda estudos sobre realizadoras ameríndias, africanas, chinesas, portuguesas, iranianas, indianas, latinas, lésbicas, jovens, veteranas e pioneiras. A proposta é ousada e o panorama, vertiginoso. Tomadas pelo espanto, não conseguimos deixar de nos perguntar: Onde estávamos que nunca ouvimos falar dessa ou daquela realizadora? Por onde andávamos que nunca assistimos a uma imagem sequer de uma penca de filmes analisados? Onde elas se encontram e por onde circulam suas vozes e imagens?”

SUMÁRIO

Prefácio - “Ela é um outro”: por uma outra história do cinema
Ilana Feldman

Apresentação – Histórias de cinema para mulheres e homens
Karla Holanda

As ruidosas mulheres do cinema silencioso
Flávia Cesarino

Notas introdutórias sobre Esfir Chub: soviética, revolucionária e mestra dos mestres do cinema
Neide Jallageas

A cineasta de Hitler: o cinema de Leni Riefenstahl
Wagner Pinheiro Pereira

Mulheres e direção cinematográfica na América Latina: uma visão panorâmica a partir das pioneiras
Marina Cavalcanti Tedesco

¿El rey ha muerto? Breve panorama sobre as cineastas argentinas e seus filmes
Alcilene Cavalcante  | Natalia Christofoletti Barrenha

Revisitando tradições do cinema mexicano: Lola (1989) e a trajetória de María Novaro
Maurício de Bragança

O outro lado da lua no cinema brasileiro
Karla Holanda

Mulheres negras nas ruas do Rio de Janeiro: cidades generificadas e racializadas
Ana Paula Alves Ribeiro

O caminho do retorno: o cinema feito pelas cineastas ameríndias
Clarisse Alvarenga

Mulheres de imagem: reflexões sobre o cinema africano no feminino
Janaína Oliveira

A metade do céu: mulheres e o cinema da China Continental
Cecília Mello

Mulheres no cinema iraniano: perspectivas criativas e ideológicas frente à intervenção estatal
Alessandra Meleiro

A mulher na direção cinematográfica indiana
Juily Manghirmalani

FemCinema: breve história das mulheres cineastas em Portugal
Ana Catarina Pereira

Teoria e crítica feminista: do contracinema ao filme acontecimento
Ana Maria Veiga

A in/visibilidade lésbica no cinema
Ramayana Lira de Sousa | Alessandra Soares Brandão

De mulher para mulher: o campo do pornográfico para o deleite dos femininos
Mariana Baltar

Notas sobre os estudos de espectatorialidade feminina: percorrendo caminhos e chaves de análise
Regina Gomes | Letícia Moreira

Imagens que sei delas: ensaio e feminismo no cinema de Varda, Akerman e Kawase
Roberta Veiga

A montagem como inventário: corpos, gestos e olhares no cinema de Agnès Varda
Patrícia Machado

Carolee Schneemann visita Jane Wodening e Hortense Fiquet, essas adoráveis convidadas no domínio masculino
Patrícia Mourão

De intervalos e deslocamentos: o cinema de Trinh T. Minh-ha
Carla Maia

Il saggio si propone di analizzare il ruolo delle donne all'interno della filiera cinematografica ed il modo in cui si relazionano alla tecnologia e vengono in questo modo raccontate dalla stessa.
Nella prima parte si analizzerà il ruolo delle donne nella storia del cinema, indagando nel concreto il lavoro che hanno intrapreso all'interno dell'industria cinematografica, partendo dalle “registe-pioniere” del cinema muto, raccontato da Veronica Pravadelli nel volume Le donne del cinema e in We want cinema: sguardi di donne nel cinema italiano, curato da Laura Buffoni.
La seconda parte sarà incentrata sul rapporto fra donne e tecnologia nel cinema contemporaneo, partendo dai testi: Il cinema delle donne contemporaneo (V. Pravadelli) e Smagliature digitali (C. Cossutta, V. Greco, A. Mainardi, S. Voli).

1990'ların yeni dünya düzeninin gündemindeki kavram küreselleşme ve yerel ölçekte güdülen neoliberal ekonomik politikalar uyarınca, 1990'ların Türkiye sineması, Amerikan Majörleri ve ithal filmler tarafından kuşatılır. Aynı dönem, Kültür Bakanlığı, TRT, özel kanallar, Eurimages ve özel sponsorlar gibi bir dizi yeni yapım destek fonuna ve değişen yapımcılık anlayışına tanıklık eder. Dönemin yerel siyasi anlayışı ve global ölçekte tüketim "ürün"lerinin genişleyen kapsamı sonucunda değişen sosyolojik yapı ve tüketim alışkanlıkları, seyir kültürünü de dönüştürmüştür. Tüm bu dinamikler, filmlerin üretilme biçimlerine, sinemasal dile ve anlatıya yansır. 1990'lı yıllar bir diğer yanıyla, ilk filmini çeken on dört yeni kadın yönetmenle, Türkiye sinema tarihinde daha önce görülmemiş bir artışa tanıklık eder. İlk filmleri çevirdikleri yıl itibariyle sıralandığında 1990'lı yıllarda sinemasal alana dahil olan yönetmenler; Füruzan ve Gülsün Karamustafa, Canan Gerede, Tomris Giritlioğlu, Biket İlhan, Seçkin Yasar, Handan İpekçi, Canan Evcimen, Fide Motan, Yeşim Ustaoğlu, Sunar Kural Aytuna, Necef Uğurlu ve Jülide Övür'dür. 1990'ların kadın yönetmenlerinin film üretim süreçlerinde 90'ların kültürel üretim dinamiklerinin; sanatçı kimliklerini, dolayısıyla sanata bakış açılarını şekillendiren bileşenlerin; 1990'lı yılları oluşturan ve 1990'lı yılların oluşturduğu tarihsel, toplumsal, politik ve ekonomik unsurların etkili olduğu açıktır. 1990'ların kadın yönetmenleri, bu unsurlar üzerinden siyasallaşmaya başlayan bir söylem alanı var etmişlerdir. Ancak filmlerdeki dişil alanın sorunlu yapısı, 90'lı yıllar kadın sinemacıların üretimlerinde ortak feminist bir dilden yahut feminist bir üretim biçiminden söz edilmesini olanaksız kılmaktadır. Anahtar Kelimeler : Film Prodüksiyon Teorisi, Feminist Film Kuramı,1990'lar Türkiye Sineması, Kadın Yönetmen, Kadın ve Sinema

In line with the concept of globalization imminent to the 1990s new world order, and the local politics; the American Majors and imported films occupy '90s Turkish cinema. The same period witnesses changing practices of production and new production funds from Cultural Ministry, TRT (Turkish Radio & Television Corporation), custom channels, Eurimages and private sponsors. The sociological structure and consumption patterns changed by the local politics and the expanding extent of consumer "goods" on global scale, transform the watching culture as well. All these dynamics reflect on the production practices of the films, their form and substance. On the other hand, 1990s witness an unprecedented increase in the Turkish cinema history, with a number of fourteen new female directors. Ranged according to the release date of their first films, the directors are; Füruzan and Gülsün Karamustafa, Canan Gerede, Tomris Giritlioğlu, Biket İlhan, Seçkin Yasar, Handan İpekçi, Canan Evcimen, Fide Motan, Yeşim Ustaoğlu, Sunar Kural Aytuna, Necef Uğurlu and Jülide Övür. 1990s cultural production dynamics; the components shaping directors' artistic personalities thereby artistic viewpoints; the historic, social, political and economic factors having formed the '90s and the '90s forming these factors are influential for the cinematic production process of '90s female directors. Over these components, the female directors of 1990s start to generate a field of political discourse. Yet the problematic structure of the feminine in the 90s female directors' films makes it impossible to refer to a common feminist discourse or a feminist film production process. Key Words : Film Production Theory, Feminist Film Theory, 1990's Turkish Cinema, Female Director, Women and Cinema

This book draws on feminist philosophers Simone de Beauvoir, Luce Irigaray, Christine Battersby, Sonia Kruks, Iris Young and others to offer readings of some of the most important and memorable films directed by women in the 1990s and early twenty-first century. It suggests where feminist film studies might go 'after psychoanalysis', arguing that a feminist film-philosophy of an ethical female subjectivity can best assist women directors'  increasingly subtle exploration of gender relations, desire and embodied action.

There have been a number of Latin American feature films that have travelled through the transnational circuits of film exhibition and distribution with the relationship between mistresses, masters and servants at their centre. This focus allows cinephiles around the world a voyeuristic insight into the private spaces and fictional homes of far away protagonists (if viewed from foreign metropolises as the films often are). Both male and female Latin American directors are making films that comment on the power relations between the ruling and servant classes, and use this relationship to share their observations on wider social/national class paradigms. Nonetheless, this subject matter has been of particular interest to female directors, and it is significant that this has coincided with the rise in women filmmakers on the global stage, the focus of this collection. This relationship is central to Latin American social and class relations, and Shireen Ally draws attention to the discomforting presence of the maid for many feminists (2015: 40), as the liberation of one social group is often conditional on the subjugation of another. This is particularly pertinent in a region (Latin America and the Caribbean) 'with the largest proportion of domestic workers' in the world (Higman 2015: 33). Patricia White also draws attention to the rise in transnational

"The work of the Women and the Silent Screen Conferences [...] is to collectively create a new realm of cinema history, neither 'the' history, nor 'a' history, but a strange double world." These words are from Jane Gaines in her keynote address for the fifth Women and the Silent Screen Conference, held at the Stockholm University in 2008. This proceedings volume gives a representative picture of the breadth of the conference.

The rich and varied contributions address theoretical issues around this double world of "cinematification" and feminist historiography, advancing questions on the authorship of pioneering female filmmakers and the role of female stars in early cinema. Other topics explored include transnationalism, the performance of femininity, fandom and fashioning, and branding within the studio system. The diversity of subjects in this volume reveals both the complexity and the problems of the field of research that the Women and the Silent Screen Conferences represent. Not only do these papers deal with well-known, concrete issues within feminist scholarship, but they also consider a more fundamental question: that of the medium as such in its early years, and its conceptualisation within a feminist scholarly framework."

En la revisión general del cine producido en América Latina, podemos encontrar ausencias, pero hay una que habría que esforzarse en corregir, pues el cine producido por mujeres y desde el feminismo, no suele mencionarse o analizarse a profundidad en las páginas de los libros que examinan el cine latinoamericano desde sus orígenes hasta nuestros días.

Estas experiencias podemos rastrearlas en investigaciones especializadas en cine de mujeres o alrededor del cine feminista, inclusive, en obras sobre movimientos de mujeres y/o feministas podemos encontrar mayores referencias e información respecto a producciones fílmicas realizadas por mujeres —feministas o no—, en la región.

Si las experiencias de las mujeres de cine no suelen formar parte substancial —o parte alguna—, de esas revisiones generales, la experiencia de realizadoras o de colectivos cinematográficos feministas ha merecido todavía menor atención.

Esta omisión me parece grave en los textos que tratan principalmente el periodo conocido como el de los Nuevos Cines Latinoamericanos, pues si hubo un cine oposicional en ese periodo, fue precisamente el cine feminista latinoamericano.

En el año de 1975, declarado por la Organización de las Naciones Unidas (ONU) como el Año Internacional de la Mujer, el Colectivo Cine Mujer en México se puso en acción desde el feminismo y el cine, y hasta 1986, produjo cerca de ocho filmes, —de los cuales tuve la oportunidad de visionar y analizar siete de ellos—, donde mediante un lenguaje cinematográfico vanguardista y la reflexión feminista, colocaron en las pantallas de su país, de la región y del mundo, un contracine que además, en su realización, abogaba por nuevas formas de trabajo colectivas —en el marco del movimiento artístico mexicano de Los Grupos y de los colectivos cinematográficos en todo el mundo—, y que se esforzaron en desjerarquizar las etapas de producción audiovisual heredadas de décadas de dominio hollywoodense y también, frente a las teorías del cine de autor de los nuevos cines.

En ese mismo contexto, otros colectivos fílmicos feministas, como el colectivo Cine-Mujer en Colombia, el Grupo Feminista Miércoles en Venezuela o el colectivo Warmi en Perú, produjeron cine político latinoamericano que no suele ser considerado o analizado junto a experiencias como las del Grupo Cine Liberación o Cine de la Base en Argentina, el Cinema Novo brasileño, el Nuevo Cine Cubano o el cine de UKAMAU en Bolivia.

Por ello, la presente investigación pretende aportar información respecto a los contextos, las películas y las acciones de uno de estos colectivos: el Colectivo Cine Mujer mexicano, una experiencia generada desde el Centro Universitario de Estudios Cinematográficos (CUEC) de la Universidad Nacional Autónoma de México (UNAM), creado apenas en 1963, hoy bajo la dirección de Maricarmen de Lara, realizadora que forma parte de este movimiento de cine feminista latinoamericano e integrante de Cine Mujer en su última etapa.

La investigación además cuenta con dos entrevistas anexas, realizadas a Beatriz Mira, integrante fundadora del colectivo y a la propia Maricarmen de Lara.

Le désir et la sexualité ont trouvé des représentations poétiques dans l’œuvre de certaines femmes, notamment à travers la danse pour Maya Deren, « mère » de l’avant-garde américaine, ou par l’intermédiaire de voix féminines et intemporelles dans le cinéma de Marguerite Duras, voix qui rappellent son univers littéraire dans lequel «c’est par le manque qu’on dit la chose»36. D’autres optent pour la mise en scène d’une sexualité explicite et débordante, à l’exemple de Catherine Breillat (entre autres Une vraie jeune  lle, Romance et Anatomie de l’enfer). Elle se fait aussi violente et trash pour Virginie Despentes et sa collaboratrice Coralie Trinh Thi, qui ont réalisé le très controversé Baise- moi (2000). Ce  film marque par ailleurs un point tournant non seulement pour le cinéma des femmes, mais pour tout un pan de la cinématographie contemporaine française associé au « cinéma extrême », aussi connu sous l’appellation « cinéma du corps » selon les recherches menées par Tim Palmer. Je m’intéresserai à ces représentations du désir et de la sexualité dans le cinéma des femmes réalisé en France au tournant du xxe siècle, plus précisément à des représentations qui, mettant de l’avant une prise de position politique affirmée, voire radicale, sont vigoureusement engagées sur la voie féministe. Pour plusieurs réalisatrices, cette prise de position s’enracine dans ce geste, libérateur, qui consiste à prendre la caméra pour regarder/ lmer, geste fondamental servant l’appropriation du regard/pouvoir féminin dans une industrie où les femmes accèdent encore trop dif cilement à la réalisation.

Féminismes, sexualités, libertés
Sous la direction de Lori Saint-Martin, Thérèse St-Gelais et Caroline Désy, Cahiers de l'IREF, collection Agora, no 8, 2017, 69 pages.

Agora No8
De l’ensemble des textes réunis ici, où sont convoqués tour à tour le politique, les médias, la fiction, le théâtre et le cinéma, ressortent deux principaux fils conducteurs. D’une part, les questions de privilèges hétérosexuels, de « race » ou de classe, inséparables d’enjeux de pouvoir et de violence qui traversent presque toutes les études. D’autre part, les écueils, les défis et l’immense part de créativité liés à un désir de renouveler les représentations dominantes en montrant le plaisir et le désir au féminin pour un public lui aussi féminin (ou encore, mais les textes publiés ici l’envisagent relativement peu, relevant d’une minorité de genre). Les nombreuses controverses, contradictions et ambiguïtés relevées au fil des textes illustrent autant l’emprise des pratiques et représentations patriarcales que le riche potentiel de résistance des pratiques militantes et artistiques féministes, à condition de combattre sans cesse les nouvelles exclusions et réductions au silence.

Avec des textes de : Wendy Delorme, Isabelle Boisclair, Nicole Côté, Marie-Claude Garneau, Polly Galis, Julie Beaulieu et Élisabeth Mercier. Précédés d’une présentation de Lori Saint-Martin, Caroline Désy et Thérèse St-Gelais.

Cette publication est disponible en libre accès.

Resumen Este artículo presenta algunos de los asuntos teóricos más importantes concernientes a la crítica de cine feminista y a los conceptos cine de mujeres y filmes de mujeres, desarrollados por las teóricas Laura Mulvey, Teresa de Lauretis y Alison Butler. El artículo examina la teoría fílmica feminista anglosajona respecto de sus alcances y reivindicaciones. Palabras claves: cine, cine de mujeres, filmes de mujeres, feminismo, crítica fílmica feminista, cine menor. AbstRAct This article outlines the most important theoretical issues concerning feminist film criticism and the concepts of women's cinema and women's films, developed by theorists Laura Mulvey, Teresa de Lauretis and Alison Butler. The article examines anglo feminist film theory regarding its scope and claims.

Bu çalışmada sinemada mekânsal ilişkilerin dayalı kısıtlayıcı ve özgürleştirici potansiyellerinin nasıl ifade edildiği araştırılacaktır. Pierre Nora'nın hafıza ve mekânlar arasındaki ilişkiye dair vurgusu göstergeleri olarak değerlendirebiliriz. Mekânlar sadece anlatının gerçekleştiği yerler olmanın ötesinde, karakterlerin mekânla olan ilişkileri ve o mekânlarda gerçekleşen sosyal ilişkileri bağlamında da önem taşırlar. Aidiyet kadar dışlanmak da mekânsal çalışma için seçilen filmler kadın karakterlerin merkezde olduğu anlatılara sahip olduklarından, aidiyet ve kimlik temaları toplumsal cinsiyet bağlamında değerlendirilecektir. Bu bağla dönemde üretilmiş, bağımsız yapım Yurdu (Senem Tüzen, 2015) ve Tereddüt (Yeşim Ustaoğlu, 2016) filmleri incelenerek kullandıkları biçimsel stratejiler karşılaştırılacaktır.

In this study, the way gender be investigated through the analysis of spatial relations in cinema. Based on Pierre Nora's emphasis on the relation between memory and spaces, we can evaluate spaces as signs of identity and belonging. Spaces, beyond merely being places that narrative events occur, are, in the context of characters' personal and social relations. Exclusion, as much as belonging, emerges within spatial relations. Hence the films selected for this study, with women themes of belonging and identity, will analysis of Until I Lose My Breath Clair-Obscur (YeşimUstaoğlu, 2016), that are independent productions and were made in the same period, their formal strategies will be discussed.

This chapter highlights the gendered tenor that framed the actual process of editing as the work of a collective female apparatus endowed with invaluable dexterity but lacking its own creative intentionality.  By examining the work of documentary filmmaker Esfir Shub alongside that editing collective, from which she supposedly elevated herself, this chapter considers the gendered split between theories of editing and the actual practice of editing in 1920-30s Soviet cinema. The chapter closely considers Esfir Shub's editing choices in found-footage film and dwells on the metaphor of the editor as film's dutiful caretaker, which was used to describe Shub by her friend Sergei Eisenstein.

Shelley Cobb explores film adaptations directed by women (often working with women screenwriters, producers, and sometimes editors) that foreground the figure of the female author. Through analysis of the films themselves, and their reception and discussion of the cultural and industrial contexts in which these films were released, she sees the figure of the woman author functioning as a representative of female agency. A lively discussion of costume dramas to women's films, the figure of the woman author comes to the fore as a key site for expressing the authority of the woman filmmaker.

La défaite des armées égyptiennes, syriennes et jordaniennes face à Israël en juin 1967, ainsi que les lourdes pertes territoriales auxquelles cette guerre a conduit, bouleverse la construction identitaire des peuples arabes. Les peuples n’ont plus confiance en leur système politique. Résister, et affirmer son identité, doit passer par d’autres moyens de lutte. Pour certains, la guérilla semble le seul moyen d’action possible ; d’autres, à l’arrière, proposent une refonte des pratiques artistiques, mis au service de la lutte. Dans ce contexte émergent les premières femmes réalisatrices du monde arabe, qui s’engagent sur tous les fronts pour rendre compte de l’état de fait dans lequel leur génération, après la défaite, se trouve plongée. Notre étude s’intéresse à la manière dont la défaite de 1967 a transformé le rapport au mythe du « peuple » dans le monde arabe, et à la façon dont les femmes cinéastes, jusque-là quasi absentes de l’histoire du cinéma arabe, ont pu participer, par leurs films, à cette révolution du regard.

The aim of this introduction is to provide a context for the articles that follow in this cluster on Women’s Lives on Screen. Starting with some reflections on how biopics can matter to audiences, I propose the use of ‘mattering’ as a concept for the study of women’s biopics which helps consider their objectification of women as biographical ‘material’ on screen in tandem with their emancipatory refiguring of women as biographical subjects that are made to matter. The introduction also offers a brief overview of biopic studies as they relate to the subject of women’s lives on screen. It ends by sketching the breadth of topics covered in this cluster with a summary of the eleven articles.

Commissioned programme essay for cineclub The Machine that Kills Bad People screening of WANDA at the Institute for Contemporary Art, London, May 2, 2018.

https://www.ica.art/whats-on/machine-kills-bad-people-cry-when-it-happens-wanda

Há evidências de que tanto para a filosofia da narração, dentro do campo da teoria literária, quanto para os estudos de cinema, em especial para a vertente do cinema documentário, a encenação de si, fomentada pelo relato de si mesmo do autor, apresenta uma retórica persuasiva, dotada de estrutura dialogal e dimensão fiduciária, que nos permite refletir sobre a potência e a performatividade do testemunho, sobretudo o testemunho superstes, dos sobreviventes.
Objetiva-se, a partir de uma abordagem fenomenológica, analisar os elementos textuais de três dos filmes da cineasta Lúcia Murat e os discursos secundários e terciários das obras em comparação com sua biografia, a fim de compreender a tessitura e a retórica específicas da narrativa cinematográfica de um cinema autorreferente, que versa sobre a experiência de vida da realizadora, ex-guerrilheira, presa política e vítima de tortura na Ditadura Civil-Militar Brasileira de 1964-1985. Além disso, aspira-se debater de que maneira o modo performático (NICHOLS, 2005) aplicável, em princípio, a somente documentários, poderia ser empregado nos filmes de ficção evocativos de sua autora, ou seja, nos filmes em que se nota a autorrepresentação da cineasta.
A hipótese central desta pesquisa é de que Lúcia Murat, ao relatar a si mesma no documentário autobiográfico em primeira pessoa Uma Longa Viagem (2012), e ao construir uma personagem alter ego interpretada por Irene Ravache tanto no documentário Que Bom Te Ver Viva (1989), quanto na ficção A Memória Que Me Contam (2013), permite ao espectador que identifique nos filmes, por meio da leitura documentarizante, o referente real e factográfico de sua história de vida e de seu self, e, sobretudo, que tome os filmes como testemunho da cineasta. Isto, por sua vez, possibilita, no espaço da recepção, transferir para o espectador a acreditação da história transmitida por meio de seu testemunho singular – não qualquer história, “uma história dos vencidos” (BENJAMIN, 1987), escrita a partir da perspectiva única de vítima e de sobrevivente de experiências traumáticas e de acontecimentos catastróficos. Destarte, este trabalho tem por objetivo último, formular as bases de um cinema testemunhal, que Lúcia Murat faz, de filmes que inscrevem as por vezes invisíveis marcas da violência e elaboram sobre o indizível, intransmissível e irrepresentável trauma.
Palavras-chave: Lúcia Murat. Cinema brasileiro. Testemunho. Trauma. Performatividade.

Gender studies and post-constructivist feminist theory are left with a gap in the literature when it comes to motherhood and childlessness. Where liberal feminism has increased the focus on women’s autonomy and individuality in society, in popular culture a post-feminist turn tells women to adhere to traditional gender norms and to believe that their struggle for equality is already over. This thesis explores depictions of childless female characters in contemporary North American ‘women’s cinema’: movies written and directed by women. More specifically, it thematically analyses the films The Forty-Year-Old Version, Nomadland and Promising Young Woman. It continues on a study conducted by Diana Ross (1998) which explores depictions of childless women in 67 popular American films. Her findings show that though the portrayals have become less stereotypical over time, they still hold certain tenacious preconceptions about childless women. These include the belief that childless women are lonely, cold-hearted, and mentally instable people. To see whether similar prejudices come up in the contemporary world of film which increasingly includes female writers, directors, and leads, this thesis asks the question: “How are childless women portrayed in contemporary American films directed by women?”. The purpose of this study is to gain insight into the meanings attributed to childlessness among women in American society. Through a thematic analysis, the shared patterns of each character portrayal are explored. Primary attention is paid to the protagonists’ behavior, environment, interaction with others, and appearance. It finds that female directors depict more of childless women’s reality, which includes judgments from their direct environment and a newly found freedom to become downwardly mobile in their careers. The childless protagonists are portrayed as strong, independent women, who value their freedom and autonomy. Still, they struggle with economic precarity, a lack of stable romantic relationships and mental instability as a result of grief. Regardless of their empowering individuality, prospects of them changing the system beyond their personal situation remain out of sight. Additionally, the protagonists’ own perception of their childlessness is only superficially discussed. These findings suggest that comparably to feminist academic literature, women’s cinema in the U.S. is liberally ‘avoiding’ motherhood.

Naomi Kawase's work has often been said to be sensitive and physical. In this presentation I argued that this aesthetics of the delicate which identifies the style of the Japanese filmmaker hinges on a certain poetics of motherhood which runs through her work from different levels. First, there’s the artist’s own real maternity reflected in many of her documentaries, the cinematic centre of which is the strong personal and directorial decision to shoot the birth of his son in Birth/Mother (Tarachime, 2006). Secondly there’s the absent motherhood of her mother, and the research for her disappeared father, to which she will also dedicate much of her documentary work. This emptiness will create the revision of her grandmother as her main motherly figure, exploring the relations between body and motherhood. Motherhood as a theme will also be found across the characters of her fiction films, from the care-giver in The Mourning Forest (Mogari no Mori, 2007) trying to take care and understand a senile man to the old lady in Sweet Bean (An, 2015), passing old knowledges on to his young apprentice. In fact, these notions of old knowledge and transmission leads us to another level of motherhood in Kawase’s work, one that appears through the aesthetic and thematic insistence in traditions, ancestries and the rural –think of the parade in Shara (Sharasôju, 2003), the artisan works of Hanezu (Hanezu no tsuki, 2011) or the importance of the live and death cycle in Still the Water (Futatsume no mado, 2014)– and which understands not only the so-called Mother Nature but the world itself as a mother.

Many scholars of film studies have questioned the masculine notion of Euro-American auteurism for excluding women's film practice. This article shows how Ann Hui, a female director from Hong Kong, explores the female subjectivity of Xiao Hong, a famous Chinese woman writer, in the film The Golden Era (2014). Based on feminist theories of authorship and narratology, the article discusses Hui's identity as auteur by placing the production of this film in its specific political and cultural context; examines Hui's shaping of Xiao's translocal subjectivity by situating it within her embodied female experience; and elaborates on the narrative strategies used by Hui to provide an alternative mode of articulation that certifies her work as feminist cinema.

In Revisiting Women’s Cinema, Lingzhen Wang ponders the roots of contemporary feminist stagnation and the limits of both commercial mainstream and elite minor cultures by turning to socialist women filmmakers in modern China. She foregrounds their sociopolitical engagements, critical interventions, and popular artistic experiments, offering a new conception of socialist and postsocialist feminisms, mainstream culture, and women’s cinema. Wang highlights the films of Wang Ping and Dong Kena in the 1950s and 1960s and Zhang Nuanxin and Huang Shuqin in the 1980s and 1990s to unveil how they have been profoundly misread through extant research paradigms entrenched in Western Cold War ideology, post-second-wave cultural feminism, and post-Mao intellectual discourses. Challenging received interpretations, she elucidates how socialist feminism and culture were conceptualized and practiced in relation to China’s search not only for national independence and economic development but also for social emancipation, proletarian culture, and socialist internationalism. Wang calls for a critical reevaluation of historical materialism, socialist feminism, and popular culture to forge an integrated emancipatory vision for future transnational feminist and cultural practices.

There is a trend in female film production in the 21 st century in the context of Spain towards a type of cinema that we could classify as haptic. It is a mode of representation concerned with multisensory expression in film images. In this article, we shall study this haptic visuality in the works of four filmmakers: Isabel Coixet, Paula Ortiz, Mar Coll and Carla Simón, whose films in this century exemplify the trend. The method chosen is textual analysis, which will provide us with the necessary tools to study matters concerning representation (framing), narration (nuclei and catalysis) and communication (spectatorial subject). These three analytical categories together will enable us to set out the representational parameters of haptic cinema in filmic texts. The results obtained reveal that the elements related to framing (handheld camera usage, grainy images, and the recurrent presence of close-ups) help to express the characters' subjective, sensory world. As for the narrative model, a prevalence of catalysis and descriptive function can be seen, which helps the characters' affections and emotions to be widely expressed. Likewise, inferences and ellipsis help weave filmic discourses that involve the audience cognitively, constructing a communicative model that fosters interpretational openness and a kind of interpellation that seeks affective and intellectual communion with the spectatorial subject.

In Polish feature films about the Warsaw Uprising there are no women. They of course appear as nurses, civilians or message runners. But they are always part of the background, seen, but not looking, symbolic in their presence, and never the active heroines; always serving, and never independent or autonomous. If they are the heroines of the drama, then they are part of someone else’s drama, and are not given a voice of their own. Their narratives and accounts of life, even everyday life, are left unsaid, hidden behind grand and epic narratives of the heroes. The article is about women’s “micro-narratives”, the memories of women who lived in Warsaw and participated in the Warsaw Uprising in 1944. The memories give us a chance to see the Uprising in a different light, one that includes the women’s perspective and experience of the Uprising. Women’s accounts, due to their graphic nature and their uniqueness appear to be ready made film scripts, that have yet to be filmed.

The essay [in Italian] examines the evolution of the representation of women in the history of Chinese cinema from the Republican to post-socialist era. The aim is to analyze the different perspectives occurred throughout political, social, and economic changes, with attention to the contributions of female filmmakers concerned with self-perception and gender identity. The representation of women has mirrored the different degree of awareness expressed by and on women.

This piece reflects on the process of researching and producing S. Louisa Wei's documentary Golden Gate Girls (2014) and the significance of Esther Eng in contemporary feminist conceptualizations of women's filmmaking in the 1930s and 1940s. The goal of the documentary and the research is to place Eng back into Chinese and U.S. film histories, from which she has effectively been forgotten. The photo essay uses text and images to describe and reflect on that process, on the challenge of researching Eng through the images that remain, and on the ways in which feminist film history might take account of her.

This research is partially sponsored by GRF Project (No. 11610915) titled "Female Directors and Women's Cinema in Hong Kong：1950-1997“, awarded by Research Grants Council of Hong Kong.

The representation of female friendship in films by women, even more than for films directed by men, is a topic that was rarely discussed in film criticism and theory. Women's friendship has not received adequate consideration in other fields of knowledge, despite the fact that (male) friendship has been for centuries in their discussions. To compensate for the scarcity of studies, it was necessary to start with their overview, useful for films' analysis.The topic has considerable interest and richness: a large number of films (about 70 by women, 80 by men), an international dissemination, a strong presence of diasporic authors, the diversity of film genres that were used, the density of aspects in experienced and filmed friendships, although the analysis here focuses on films made by women from '80s to today, marked by a narrative, not experimental register. The adopted approach is a multi-methodological one, both for the complexity of relations and their representations both for the varied production of interested scholars, a diversification that characterizes all feminist film and media theories. The lines of research covered here are: the various approaches used, the genre's themes and relationships in the entire film production on women's friendship, derived typologies, the needs of representation, the possibilities to indicate female authorship.The theoretical and critical attention has so far been restricted to the anglophone area and the Hollywood production until the early '90s, especially films directed by men. Generally has followed a subgenre trail of female friendship films, so defined by the only author who has devoted them a study, Karen Hollinger. This corpus of films was related, often of parentage, with the woman's film and the new woman's film, two genres gynocentric, to use the term proposed by Annette Kuhn. A genre stabilization that shows problematics and reflects the diversity of Feminist Film Theory and its developments' approaches, but that does not undermine its theoretical capacity. It could put the films that i define women's contemporary female friendship films, paraphrasing Hollinger's formula, into clearly separated groups.Three potential criteria of subdivision. According to the first, the belonging to different production contexts, diasporic women's films stand out, women operating and living in Western countries, but whose identity process afferences to other world's cultures, by birth or descent, are also part. Some authors may not have lived in the places of origin, but all they return in their films, such as diegetic locations or portraying their belonging communities in their countries of immigration. A return that is characteristic of the diaspora or exile cinema, defined as transnational genre by Hamid Naficy. However these authors make clear the limitations of a too general discourse and the lack of references to gender differences. Nonetheless the production contexts' variety of women's contemporary female friendship films make their classification too fragmentary. Secondly, we see in them the use of multiple genres through hybridization, sometimes their rarefaction, with variations related to a wider choice of representation, mainstream or authorial. So in these films fictional restitution of female relationships and experiences has its revenge on the formulas encoded by Hollywood and male production. The third criterion, thematic, offers more advantages: you can include all films in a flexible grid, which supports the analytical body of this research without hiding other aspects and reduces, if not eliminate, the discretion implied by the classification according to friendship's typologies proposed by Hollinger and borrowed by Janet Todd, who formulated it in the literary field. It's possible to distinguish: texts that fit the female friendship's narration in a inter/intra-ethnic comparison; others that intercalated it into an inter/intra-generational one; finally works in which they are co-present friendship and erotic relationship. This allocation is susceptible to internal distinctions. All films, however, welcome overlapping issues and perspectives and from their analysis it results a contrast between the stereotypical ideal of friendship and instead its representation as a space-capacity of elaboration, between female subjectivities, in women genealogies, in maternages, in references to wider contexts. If not a community of styles, you can identify language recurrences: these films use ironic modalities, even in tragic registers, and inter-subjective looking dynamics, as metaphor for the elaborative space. Only a contextualization of the femal cinematographic specificity can prevent fall into theoretical impasse that would limit the richness of women's films. (SORRY FOR BAD ENGLISH)

Peng Xiaolian is a rare and prolific Chinese author who writes both fiction and non‐fiction works and directs both dramatic and documentary films. Peng has not only written, cowritten, or rewritten all the screenplays of her eight dramatic features and two documentaries but is also the author of one novel, twelve novellas, over a dozen short stories, four book‐length memoirs, three collections of film reviews, and numerous essays. The existing scholarly studies, however, nearly all focus on Peng's dramatic films, with much less, if any, attention directed at her writing and documentaries. To really understand Peng as a film auteur, however, it is necessary to look at her films and writings together. Given the quantity and complexity of her works and the space limitations of this article, I examine Peng's subversion of the conventional treatment of character, location, and time in three thematic sections reflecting the key narrative motifs in her work. I first summarize existing studies of Peng's films, highlighting the rarely examined interaction between visuality and spatiality in her films. Then, after defining her sense of time in narrative, I demonstrate how family history and self‐reflexivity are the major difference between her films and her nonfiction works. Last but not least, I discuss how, through her use of multilayered narratives constructed by the female voice and subjectivity, her complete repertoire constitutes a unique history of modern Chinese women. This article aims to demonstrate how, through her use of multilayered narratives constructed by the female voice and subjectivity, her complete repertoire constitutes a unique history of modern Chinese women.

This research is partially sponsored by GRF Project (No. 11610915) titled "Female Directors and Women's Cinema in Hong Kong：1950-1997“, awarded by Research Grants Council of Hong Kong.