test10Copyright not evaluatedstring(23) "Copyright not evaluated"
array(4) {
["txt"]=>
string(23) "Copyright not evaluated"
["block_datas"]=>
string(0) ""
["block_thumbnail"]=>
string(0) ""
["block_media"]=>
string(1) "1"
}
Gendered frames, embodied cameras
| Subtitle | Varda, Akerman, Cabrera, Calle, and Maïwenn |
| Publish Place | Madison |
| Publisher | Fairleigh Dickinson University Press |
| Publish Year | 2014 |
| Pages | XII, 233p. |
| ISBN/ISSN | 9781611476323 |
| Illustration | ill. |
| Language | English/Engels |
- Shelfmark
- FR 54 2014 - B
| Description | The argument of McFadden is that some French female filmmakers, from the New Wave precursor Agnès Varda to the twenty-first-century actor/director Maïwenn, have systematically turned their cameras towards their own bodies. She sets out to investigate the strategies implied by this literal reflexivity. Thus, McFadden’s examination of these women’s filmic practices is bound up with issues of authorship with each chapter examining how, in their different ways, the subjects, by observing their bodily existence in the world, assert their influential presence both as filmmakers and as autonomous individuals in control of the significance of their own lives. The introduction sets out the theoretical framework of the enquiry, and is particularly informed by the writings of Judith Butler and Simone de Beauvoir |
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https://hdl.handle.net/11653/book110374
