Contemporary Women’s Cinema, Global Scenarios and Transnational Contexts

The volume explores contemporary women’s cinema in relation to issues related to gender and globalization. The anthology gathers scholars coming from several parts of the world – from Italy to the US, from Turkey to Iran and Greece, from New Zealand to Argentina, from Germany to Canada. Such a global perspective is mirrored in the book’s content: essays consider women’s production in the domain of cinema by looking at various films and filmmakers around the globe and by tackling the relation between national, transnational and global contexts in film production. What comes out is a multifaceted picture showing that women filmmakers, and especially non-Western filmmakers, are key social actors able to narrate the complexities of the current geopolitical condition and of its subjects.

Veronica Pravadelli is a Professor of Film Studies at Roma Tre University and a former Visiting Professor at Brown and New York University. She has written many books and articles on Feminist Film Theory and Women’s Cinema, film theory, Hollywood cinema and Italian Post-Neorealist cinema. Her most recent publications are Le donne del cinema (2014) Classic Hollywood (2015) and Women’s Cinema and Transnational Europe (ed., 2016).

 

TABLE OF CONTENTS

Introduction Veronica Pravadelli

PART I:
WOMEN’S CINEMA AND NATIONAL/TRANSNATIONAL/GLOBAL SCENARIOS

1. Traumatic Dystopian Futurist Scenarios:
Documentary Film, Gender, and Witnessing
in Jennifer Baichwal’s Manufactured Landscapes
E. Ann Kaplan

2. Female Friendship, Globalization
and Women’s Filmmakingin the Mediterranean
Veronica Pravadelli

3. Gendered Borderlands: Screens as Contact
Zones in Contemporary Women’s Cinema in India
Neepa Majumdar

4. Global Change as a Scenario in Recent Films
by British Women Directors
Antonia Lant

5. Crossingthe (Inner) Borders: Aesthetics and Identity
Policies in Contemporary European Cinema
Ilaria A. De Pascalis

PART II:
WOMEN’S CINEMA AND NATIONAL CINEMAS

6. Everyday Labyrinths: Bodies of Memory
in the Films of Verónica Chen
Adrián Pérez Melgosa

7. No Country for Women? The Place of Top of the Lake and
Perfect Strangersin New Zealand Cinema
Hilary Radner

8. Women Filmmakers in Contemporary Greece
Eliza Anna Delveroudi

9. Perceptions of Feminismin Iranian Women’s Cinema
Somayeh Ghazizadeh

PART III: THEORIES AND FORMS OF AUTHORSHIP

10. Colonial Imaginaries: White Women
and World Cinema Authorship
Patricia White

11. The Sound of Place/The Place of Sound:
Lucrecia Martel’s Acoustic Imaginary
Kathleen M. Vernon

12. Out of Step with Autobiographical Temporality:
The Politics ofthe Affective in Petra Costa’s Elena
Luz Horne

13. The Topographies of Ethnicity in Kym Ragusa’s
Passing, fuori/outside, and The Skin Between Us
Sabrina Vellucci

14. Subversive Strategies in Lucrecia Martel’s Cinema
Uta Felten

15. Visual Encounters in Lost and Delirious
and Blue Is the Warmest Color
Maria Anita Stefanelli

PART IV:
WOMEN’S CINEMA AND NEW FORMS
OF PRODUCTION AND DISTRIBUTION

16. Her Blog: Women’s Cinema in the Digital Age
Rosanna Maule

17. Women Make Movies and the Politics
ofContemporary Feminist FilmDistribution
Kristen M. Fallica

18. NestingInstincts? Women Filmmakers
and TV Directors in Turkey
Melis Behlil

Biographies