In Women’s Cinema, World Cinema, Patricia White explores the dynamic intersection of feminism and film in the twenty-first century by highlighting the work of a new generation of women directors from around the world: Samira and Hana Makhmalbaf, Nadine Labaki, Zero Chou, Jasmila Zbanic, and Claudia Llosa, among others. The emergence of a globalized network of film festivals has enabled these young directors to make and circulate films that are changing the aesthetics and politics of art house cinema and challenging feminist genealogies. Extending formal analysis to the production and reception contexts of a variety of feature films, White explores how women filmmakers are both implicated in and critique gendered concepts of authorship, taste, genre, national identity, and human rights. Women’s Cinema, World Cinema revitalizes feminist film studies as it argues for an alternative vision of global media culture.
- Contents
- Acknowledgment
- Introduction
- 1. To Each Her Own Cinema. World Cinema and the Woman Cineaste
- Jane Campion’s Cannes Connections
- Lucrecia Martel’s Vertiginous Authorship
- Samira Makhmalbaf’s Sororal Cinema
- 2. Framing Feminisms. Women’s Cinema as Art Cinema
- Deepa Mehta’s Elemental Feminism
- Iranian Diasporan Women Directors and Cultural Capital
- 3. Feminist Film in the Age of the Chick Flick. Global Flows of Women’s Cinema
- Engendering New Korean Cinema in Jeong Jae-eun’s Take Care of My Cat
- Nadine Labaki’s Celebrity
- 4. Network Narratives. Asian Women Directors
- Two-Timing the System in Nia Dinata’s Love for Share
- Zero Chou and the Spaces of Chinese Lesbian Film
- 5. Is the Whole World Watching? Fictions of Women’s Human Rights
- Sabiha Sumar’s Democratic Cinema
- Jasmila Žbani´c’s Grbavica and Balkan Cinema’s Incommensurable Gazes
- Claudia Llosa’s Trans/national Address
- Afterword
- Notes
- Bibliography
- Filmography
- Index
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