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  • Women′s Cinema, World Cinema: Projecting Contemporary Feminisms

    Author(s):
    Pages: 280
    Illustrations: 48 illustrations
    Sales/Territorial Rights: World
  • Cloth: $94.95 - In Stock
    978-0-8223-5791-9
  • Paperback: $25.95 - In Stock
    978-0-8223-5805-3
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  • Acknowledgments   vii

    Introduction   1

    1. To Each Her Own Cinema. World Cinema and the Woman Cineaste   29

    Jane Campion's Cannes Connections   30

    Lucrecia Martel's Vertiginous Authorship   44

    Samira Makhmalbaf's Sororal Cinema   56

    2. Framing Feminisms. Women's Cinema as Art Cinema   68

    Deepa Mehta's Elemental Feminism   76

    Iranian Diasporan Women Directors and Cultural Capital   88

    3. Feminist Film in the Age of the Chick Flick. Global Flows of Women's Cinema   104

    Engendering New Korean Cinema in Jeong Jae-eun's Take Care of My Cat   108

    Nadine Labaki's Celebrity   120

    4. Network Narratives. Asian Women Directors   132

    Two-Timing the System in Nia Dinata's Love for Share   136

    Zero Chou and the Spaces of Chinese Lesbian Film   142

    5. Is the Whole World Watching? Fictions of Women's Human Rights  169

    Sabiha Sumar's Democratic Cinema   175

    Jasmila Žbanic's Grbavica and Balkan Cinema's Incommensurable Gazes   181

    Claudia Llosa's Trans/national Address   187

    Afterword   199

    Notes   203

    Bibliography   235

    Filmography   247

    Index  251
  • Women’s Cinema, World Cinema is another smart, deep and open-hearted achievement I will choose to live beside. White lets us know, in this collection of essays, investigations, speculations, gossip and political insights that feminist cinema is now, in fact, a global event that defies national boundary…. It’s a book that succeeds in expanding  the reader’s consciousness with wit and bold intellectual drive.”

    “Bringing these excellent, inspiring filmmakers into sharp focus, this comprehensive study is smoothly organized and could even serve as a text for a semester-long course on 21st-century feminist cinema.  Boldly illustrated and written in a clear, accessible style, this will be a key resource for those interested in contemporary film history, theory, and criticism…. Highly recommended. All readers.”

    "Women’s Cinema, World Cinema is a substantial victory in terms of scholarship and the ripple effect it could have on the far-flung communities of people who care about women’s cinema."

    "With her brilliantly clear-sighted study,White bestows on her readers the right not to be defensive about female film authorship quantitatively any longer. Her work argues, instead, that 'women’s cinema' be understood, valued, and defended qualitatively as the key space of feminist film culture—as a 'discursive terrain . . . still very much at stake' (3)." 

    "A must-read for programmers, critics, teachers, and all viewers.... It’s both a brilliant reading of some of the most inventive current filmmakers... and an insightful lowdown of changes in film production, exhibition and reception over the last decade."

    "White’s book is one of 2015’s major feminist works because of its demonstration of feminism as a process defying stereotypes and driving continual cultural change—‘post’ only in its capacity to overtake itself."

    "White’s monograph is undoubtedly an invaluable addition to the discussion of women’s cinema. White’s most far-reaching contribution to both women’s and film studies is her carefully crafted and detailed exploration of the geopolitics of global women’s cinema. Her case studies convey the struggle between the personal and the global, and the national and the international, showing multiple pathways of engagement with these issues, and the close links between distribution, exhibition and evaluation within the US art house and international film festival spheres."

    "White has dealt with material that is dauntingly unwieldy and has provided the great scholarly service of making it far less so for others. She has provided a wonderful 'map', one that enables an informed and focused engagement with the very best of contemporary women's cinema from the Global South. Her book makes a very strong case for the importance of women's cinema as world cinema. I recommend it most warmly."

    "Painstakingly researched and clearly argued, Women's Cinema, World Cinema will undoubtedly become a key text for scholars and teachers interested in contemporary feminist film studies, and their increasingly de-centralizing intersections with transnational and world cinema."

    Reviews

  • Women’s Cinema, World Cinema is another smart, deep and open-hearted achievement I will choose to live beside. White lets us know, in this collection of essays, investigations, speculations, gossip and political insights that feminist cinema is now, in fact, a global event that defies national boundary…. It’s a book that succeeds in expanding  the reader’s consciousness with wit and bold intellectual drive.”

    “Bringing these excellent, inspiring filmmakers into sharp focus, this comprehensive study is smoothly organized and could even serve as a text for a semester-long course on 21st-century feminist cinema.  Boldly illustrated and written in a clear, accessible style, this will be a key resource for those interested in contemporary film history, theory, and criticism…. Highly recommended. All readers.”

    "Women’s Cinema, World Cinema is a substantial victory in terms of scholarship and the ripple effect it could have on the far-flung communities of people who care about women’s cinema."

    "With her brilliantly clear-sighted study,White bestows on her readers the right not to be defensive about female film authorship quantitatively any longer. Her work argues, instead, that 'women’s cinema' be understood, valued, and defended qualitatively as the key space of feminist film culture—as a 'discursive terrain . . . still very much at stake' (3)." 

    "A must-read for programmers, critics, teachers, and all viewers.... It’s both a brilliant reading of some of the most inventive current filmmakers... and an insightful lowdown of changes in film production, exhibition and reception over the last decade."

    "White’s book is one of 2015’s major feminist works because of its demonstration of feminism as a process defying stereotypes and driving continual cultural change—‘post’ only in its capacity to overtake itself."

    "White’s monograph is undoubtedly an invaluable addition to the discussion of women’s cinema. White’s most far-reaching contribution to both women’s and film studies is her carefully crafted and detailed exploration of the geopolitics of global women’s cinema. Her case studies convey the struggle between the personal and the global, and the national and the international, showing multiple pathways of engagement with these issues, and the close links between distribution, exhibition and evaluation within the US art house and international film festival spheres."

    "White has dealt with material that is dauntingly unwieldy and has provided the great scholarly service of making it far less so for others. She has provided a wonderful 'map', one that enables an informed and focused engagement with the very best of contemporary women's cinema from the Global South. Her book makes a very strong case for the importance of women's cinema as world cinema. I recommend it most warmly."

    "Painstakingly researched and clearly argued, Women's Cinema, World Cinema will undoubtedly become a key text for scholars and teachers interested in contemporary feminist film studies, and their increasingly de-centralizing intersections with transnational and world cinema."

  • "Women's Cinema, World Cinema is an exciting book for the connections that Patricia White expertly draws and explicates between text and context, auteur and society, national and global. Her knowledge of the particularities of individual directors and national cinemas is remarkable, as is her familiarity with their relevant histories and critical literatures. Women's Cinema, World Cinema is a major work that will transform how these films and filmmakers are viewed and studied."
    — B. Ruby Rich, author of New Queer Cinema: The Director’s Cut

    "Women's Cinema, World Cinema is the first book to offer a truly broad—dare I say global—perspective on the practices of feminist filmmaking as they have developed in the twenty-first century. Its balance of breadth and specificity makes it unique, and one of its strengths is Patricia White's willingness to step out of the narrow confines that have for too long shaped various constituencies in film studies. Women's Cinema, World Cinema provides exactly the context and the theoretical questioning that film studies needs."
    — Judith Mayne, author of Framed: Lesbians, Feminists, and Media Culture

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  • Description

    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.

    About The Author(s)

    Patricia White is Professor of Film and Media Studies at Swarthmore College. She is the author of Uninvited: Classical Hollywood Cinema and Lesbian Representability, coauthor of The Film Experience, and coeditor of Critical Visions in Film Theory. She has worked extensively with Women Make Movies and the journal Camera Obscura: Feminism, Culture, and Media Studies.
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