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Contemporary Women's Cinema
Global Scenarios And Transnational Contexts
Edited by Veronica Pravadelli
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Book Presentation:
The anthology explores contemporary women’s cinema in relation to issues related to gender and globalization. The anthology gathers scholars from several parts of the world – from Italy, the USA, Turkey, Iran, Greece, New Zealand, Argentina, Germany and Canada. Such a global perspective is mirrored in the book’s content: the 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.
The anthology explores contemporary women’s cinema in relation to issues related to gender and globalization. The anthology gathers scholars from several parts of the world – from Italy, the USA, Turkey, Iran, Greece, New Zealand, Argentina, Germany and Canada.
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 of the 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 of Contemporary Feminist Film Distribution
Kristen M. Fallica
18. Nesting Instincts? Women Filmmakers and TV Directors in Turkey
Melis Behlil
Biographies
About the Author:
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 Cin- ema, lm 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).
See the publisher website: Mimesis International
> From the same author:
Classic Hollywood (2014)
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