By Anneke Smelik
And The reflect Cracked explores the politics and pleasures of up to date feminist cinema. Tracing the efficient ways that feminist administrators create replacement movie types, Anneke Smelik highlights cinematic concerns that are primary to feminist motion pictures: authorship, standpoint, metaphor, montage, and the over the top photograph. In a continuing replicate online game among concept and cinema, this research explains how those cinematic suggestions are used to symbolize lady subjectivity definitely 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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Additional info for And the Mirror Cracked: Feminist Cinema and Film Theory
One of the main omissions of such a transhistorical approach, argues Pribram, is the disregard for the socio-historical context in which female spectators actually watch movies or television. This criticism revives the tension between politics and pleasure I mentioned earlier. The neglect of the female spectator, as individual or as a social group, has resulted in a feminist endorsement of alternative cinema and, simultaneously, in a dismissal of mainstream cinema. Gamman and Marshment and Pribram argue that these normative views reinforce women's exclusion from cultural production and reception and are therefore politically unproductive.
Because the act of decoding the signs of the film text is performed by the viewer, much emphasis is now placed on subjectivity as it is constructed in the film and reconstructed by the spectator in the process of viewing. Poststructuralist film theory here follows Roland Barthes who declared that 'the birth of the reader must be at the cost of the death of the author' (1977: 148). Page 31 The debate on the 'death of the author' takes place in the more general context of the poststructuralist crisis of the subject.
The subject as a social agent requiring self-determination. This is the level of will, agency and history. 2. The subject of the unconscious, with desires that are structured in a relational link to another or to others. This is the level of the fantasmatic. 3. The subject of feminist consciousness, understood here as a process that structures relations between director, film text and spectator. This is the level of film form, strategies and rhetoric. I will now apply this scheme to my reading of The Subjective Factor, a feminist film that leads into the heart of the matter: the representation of female subjectivity in women's cinema.
And the Mirror Cracked: Feminist Cinema and Film Theory by Anneke Smelik