Gendered Frames, Embodied Cameras: Varda, Akerman, Cabrera, by Cybelle H. McFadden

By Cybelle H. McFadden

Gendered Frames, Embodied Cameras: Varda, Akerman, Cabrera, Calle, and Maiwenn is the 1st publication to hyperlink those 5 filmmakers jointly via an research of the connection among filming one s personal physique and the inventive physique.

Through engaged creative practices, those woman filmmakers flip the digicam to their our bodies in an effort to exhibit the method of inventive production and to supply themselves as filmmakers and artists of their paintings from 1987 2009. by way of making noticeable their our bodies, they give a much wider variety of illustration of ladies in French movie.

Through avant-garde shape, within which tangible corporeal components are made photograph, they rework representational content material and convey new cinematic our bodies with the facility to persuade signifying practices in modern French tradition. via rendering obvious their creative perform and praxis and their digicam of their paintings reflexive practices that still unite those filmmakers those girls additionally visually declare the function of filmmaker and artistic topic.

Thus they determine their authority in a movie during which ladies s participation and popularity in their achievements have traditionally been less than that in their male counterparts."

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Additional resources for Gendered Frames, Embodied Cameras: Varda, Akerman, Cabrera, Calle, and Maïwenn

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51. Laura Mulvey, “Visual Pleasure in Narrative Cinema,” in Feminism and Film Theory, ed. Constance Penley (New York: Routledge, 1988), 57–68. 52. Sandy Flitterman-Lewis, To Desire Differently: Feminism and the French Cinema (Urbana: University of Illinois Press, 1990), 5. 53. Mulvey, “Visual Pleasure in Narrative Cinema,” 59. 54. , 61. 55. Flitterman-Lewis, To Desire Differently, 18. 56. , 6. 57. , 22. 58. E. Ann Kaplan, Women and Film: Both Sides of the Camera (New York: Methuen, 1983), 24. 59.

Boulé and Tidd, “Introduction,” in Boulé and Tidd, Existentialism and Contemporary Cinema, 9. 42. , 9. 43. In her talk, “Aging Disgracefully: Brigitte Bardot at 75,” Ginette Vincendeau analyzes the tensions between images of youthful beauty and aging stars. In Bardot’s case in particular, her iconographic status associated with youthful sensuality was cemented in 1973 when she stopped making films at the age of thirty-nine. net/2011/12/prof-ginette-vincendeau-ageing-disgracefully-brigittebardot-at-75.

McFadden, “No Sex Last Night: The Look of the Other,” Intermédialités 7 (2006): 111–25. 30. Simone de Beauvoir, The Second Sex, trans. Constance Borde and Sheila MalovanyChevallier (New York: Alfred A. Knopf, 2010), 6. Simone de Beauvoir, Le Deuxième Sexe (Paris: Éditions Gallimard, 1949), 15. 31. , elaborates this point in detail. In the 1990s, Moi’s critique of Butler’s theory centered on the debate regarding the ability or inability to talk about the category of women in discussions about gender.

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