By Anneke Smelik (auth.)
And The reflect Cracked explores the politics and pleasures of up to date feminist cinema. Tracing the hugely efficient ways that feminist administrators create substitute movie varieties, Anneke Smelik highlights cinematic matters that are crucial to feminist motion pictures: authorship, perspective, metaphor, montage and the over the top photograph. In a continual replicate video game among idea and cinema, this examine explains how those cinematic recommendations are used to symbolize lady subjectivity absolutely and affirmatively. one of the movies thought of are a question of Silence , Bagdad Cafe , Sweetie and The Virgin computing device .
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Additional info for And the Mirror Cracked: Feminist Cinema and Film Theory
He refers to a scene where filmmaker Sander appears on the screen while she watches film footage of herself giving a speech at a student congress thirteen years earlier. This speech is historic in the sense that it 'is generally taken to mark the birth of the new women's movement in West Germany' (Knight 1992: 74). Within the fictional story the scene is related to Anni; both the woman in the present and the one in the past are supposed to be her. Jochum claims that this scene cannot be understood because most spectators would not recognize Sander either in the images of the present or of the past.
Although he did not recognize Sander watching her own historical image in this sequence either, Elsaesser provides a poignant reading of the scene. Like most spectators he identifies the woman watching the newsreel of the historical Helke Sander as the fictional Anni. For Elsaesser this confrontation of the historical with the fictional opens up questions of representation and sexual difference: it marks 'the gap where the fact that her integrity as a "person" is no longer recoverable (no image to match her voice) becomes a political one' (1989: 192).
For me, however, this is a rather blatant example of familiar double standards to the detriment of women filmmakers, due to the culturally induced bias that equates genius with men and acts accordingly in the realm of canon formation. Ignorance also plays a part: the critical reception suggests that the most innovative elements in feminist filmmaking, a shift in consciousness and the redefinition of subjectivity, are being missed or misunderstood. 10 It is in such a framework that auteurism inflicts the final blow to the emerging subjectivity of women filmmakers and inhibits serious 38 And the Mirror Cracked consideration of their work.
And the Mirror Cracked: Feminist Cinema and Film Theory by Anneke Smelik (auth.)