Download And the Mirror Cracked: Feminist Cinema and Film Theory by Anneke Smelik PDF

By Anneke Smelik

And The replicate Cracked explores the politics and pleasures of up to date feminist cinema. Tracing the efficient ways that feminist administrators create substitute movie types, Anneke Smelik highlights cinematic concerns that are vital to feminist motion pictures: authorship, standpoint, metaphor, montage, and the over the top picture. In a continual replicate online game among concept and cinema, this examine explains how those cinematic suggestions are used to symbolize woman subjectivity absolutely and affirmatively. one of the movies thought of are A query of Silence, Bagdad Café, and Sweetie and the Virgin Machine.

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The result is a renewed emphasis on the role of the spectator as producer of meaning. Page 39 Christian Metz (1982) applies the notion of discourse to cinema and film theory. He borrows from Benveniste the distinction between story and discourse (the utterance, and the object of the utterance respectively) and relates it to the position of the subject. The subject is now analyzed in terms of enunciation (the utterance of a speaking subject) and the enunciated (the statement which contains a subject of speech).

Her idea, presented with great uncertainty and hesitation, is considered to be truly non-Marxist and hence ridiculous. Yet Anni is allowed to speak, and Helke Sander's historical speech took place, making women rise as a class, that is: as their gender. The intellectual montage of historical and fictional material adds to a recognition of authenticity and complicates our sense of history, whether we 'get' all the historical details or not. But, more relevant for the present discussion, the appearance of Sander points to the intricate question of authorship: the relation between the director and her film.

According to Metz, the spectator identifies with the source of discourse, that is, with the invisible agency of the film, through his primary identification with the focus of the camera. The result of this view is an obliteration of authorship. In the analysis of film as discourse, the subject of enunciation is the cinematic apparatus as a whole — camera movement, montage, point of view, composition, soundtrack, etc. (Nowell-Smith 1981: 235; Silverman 1983b: 46). More especially, it has been identified with the camera, that is, the camera's look (Silverman 1988: 200–1).

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