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When a filmmaker makes a film with herself as a subject, she is already divided as both the subject matter of the film and the subject making the film. The two senses of the word are immediately in play - the matter and the maker--thus the two ways of being subjectified as both subject and object. Subjectivity finds its filmic expression, not surprisingly, in very personal ways, yet it is nonetheless shaped by and in relation to collective expressions of identity that can transform the cinema of 'me' into the cinema of 'we'. Leading scholars and practitioners of first-person film are brought together in this groundbreaking collection to consider the theoretical, ideological, and aesthetic challenges wrought by this form of filmmaking in its diverse cultural, geographical, and political contexts.
When a filmmaker makes a film with herself as a subject, she is already divided as both the subject matter of the film and the subject making the film. The two
Boldly signifying the cultural issues of the 1960s and 1970s in groundbreaking pieces such as Grey Gardens, Gimme Shelter, and Showman, filmmakers and brothers
This volume considers for the first time in a single collection this acclaimed, award-winning director's entire oeuvre, addressing and analyzing themes such as
These essays break with many of the givens of traditional feminist film theory and examine the work of directors outside the canon, including Kathryn Bigelow, J
An examination of the role of direct address within fiction cinema, focusing on its role in avant-garde or experimental cinema, and popular genre traditions.
