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And the Mirror Cracked: Feminist Cinema and Film Theory by Anneke Smelik (auth.)

By Anneke Smelik (auth.)

And The reflect Cracked explores the politics and pleasures of up to date feminist cinema. Tracing the hugely effective ways that feminist administrators create replacement movie varieties, Anneke Smelik highlights cinematic concerns that are vital to feminist movies: authorship, standpoint, metaphor, montage and the over the top photograph. In a continuing reflect online game among concept and cinema, this learn explains how those cinematic strategies are used to symbolize lady subjectivity certainly and affirmatively. one of the movies thought of are a question of Silence , Bagdad Cafe , Sweetie and The Virgin desktop .

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Feminism is another major context that feeds into the project of Sander's film and accounts for the forceful way in which she puts both history and subjectivity at stake. Feminism, with its questioning of female identity, the emphasis on 'the personal is the political' and the desire to empower the presence of women in history, informs the very structure of The Subjective Factor. The cinematic form respects the complexities and even the contradictions of the women involved in this process. Sander's film gives ample space to gaps, omissions and silences, thereby suggesting as much as portraying the efforts of women groping to understand their position in society, at a time when that society is coming apart at its bourgeois seams.

Two relevant theoretical contexts complicate the conception of female authorship in cinema: the school of auteurism in film studies, and the debate around 'the death of the author' in poststructuralism. In what follows I will first relate questions of female subjectivity to three relevant points of reference: to the notion of the director as auteur, to explorations of the female author in a poststructuralist context, and to feminist theories of female subjectivity. After a first analysis of the film The Subjective Factor I will tum to a psychoanalytic theory of authorial libidinal coherence and finally to authorship in film narratology.

PATTERNS OF DESIRE A cine-structuralist reading of The Subjective Factor does not place in the foreground questions of desire and sexuality. That is why I now wish to tum to psychoanalysis by discussing Kaja Silverman's model of female authorship in cinema (1988). Although Silverman basically agrees with the poststructuralist location of authorship within the text, she does not want to dispose so readily of the biographical author whom she designates as 'the author "outside" the text', and who is linked to Benveniste's category of enunciation (193).

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