Description
Book SynopsisTrade Review“
Women’s Cinema, World Cinema is another smart, deep and open-hearted achievement I will choose to live beside. White lets us know, in this collection of essays, investigations, speculations, gossip and political insights that feminist cinema is now, in fact, a global event that defies national boundary…. It’s a book that succeeds in expanding the reader’s consciousness with wit and bold intellectual drive.” -- Sarah Schulman * Lambda Literary Review *
“Bringing these excellent, inspiring filmmakers into sharp focus, this comprehensive study is smoothly organized and could even serve as a text for a semester-long course on 21st-century feminist cinema. Boldly illustrated and written in a clear, accessible style, this will be a key resource for those interested in contemporary film history, theory, and criticism…. Highly recommended. All readers.” -- G. A. Foster * Choice *
"
Women’s Cinema, World Cinema is a substantial victory in terms of scholarship and the ripple effect it could have on the far-flung communities of people who care about women’s cinema." -- Erin Trahan * Women's Review of Books *
"With her brilliantly clear-sighted study,White bestows on her readers the right not to be defensive about female film authorship quantitatively any longer. Her work argues, instead, that 'women’s cinema' be understood, valued, and defended qualitatively as the key space of feminist film culture—as a 'discursive terrain . . . still very much at stake' (3)." -- Catherine Grant * Film Quarterly *
"A must-read for programmers, critics, teachers, and all viewers.... It’s both a brilliant reading of some of the most inventive current filmmakers... and an insightful lowdown of changes in film production, exhibition and reception over the last decade." -- Sophie Mayer * British Film Institute *
"White’s book is one of 2015’s major feminist works because of its demonstration of feminism as a process defying stereotypes and driving continual cultural change—‘post’ only in its capacity to overtake itself." -- Leanne Bibby * Year's Work in Critical and Cultural Theory *
"White’s monograph is undoubtedly an invaluable addition to the discussion of women’s cinema. White’s most far-reaching contribution to both women’s and film studies is her carefully crafted and detailed exploration of the geopolitics of global women’s cinema. Her case studies convey the struggle between the personal and the global, and the national and the international, showing multiple pathways of engagement with these issues, and the close links between distribution, exhibition and evaluation within the US art house and international film festival spheres." -- Judith Rifeser * Film-Philosophy *
"White has dealt with material that is dauntingly unwieldy and has provided the great scholarly service of making it far less so for others. She has provided a wonderful 'map', one that enables an informed and focused engagement with the very best of contemporary women's cinema from the Global South. Her book makes a very strong case for the importance of women's cinema as world cinema. I recommend it most warmly." -- Mette Hjort * Cultural Studies Review *
"A must-read book for a wide variety of audiences. White’s writing, rich and densely coded, avoids overly specialized terminology . . . . Reading this book feels like a comprehensive experience in learning how to read the world differently." -- Maggie Hennefeld * Cultural Critique *
Table of ContentsAcknowledgments vii
Introduction 1
1. To Each Her Own Cinema. World Cinema and the Woman Cineaste 29
Jane Campion's Cannes Connections 30
Lucrecia Martel's Vertiginous Authorship 44
Samira Makhmalbaf's Sororal Cinema 56
2. Framing Feminisms. Women's Cinema as Art Cinema 68
Deepa Mehta's Elemental Feminism 76
Iranian Diasporan Women Directors and Cultural Capital 88
3. Feminist Film in the Age of the Chick Flick. Global Flows of Women's Cinema 104
Engendering New Korean Cinema in Jeong Jae-eun's
Take Care of My Cat 108
Nadine Labaki's Celebrity 120
4. Network Narratives. Asian Women Directors 132
Two-Timing the System in Nia Dinata's
Love for Share 136
Zero Chou and the Spaces of Chinese Lesbian Film 142
5. Is the Whole World Watching? Fictions of Women's Human Rights 169
Sabiha Sumar's Democratic Cinema 175
Jasmila Žbanic's Grbavica and Balkan Cinema's Incommensurable Gazes 181
Claudia Llosa's Trans/national Address 187
Afterword 199
Notes 203
Bibliography 235
Filmography 247
Index 251
