Acting as a corrective to the skewed avant-garde history that neglects women, Women and Experimental Filmmaking gathers essays by some of the top scholars in cinema studies dealing with women experimental filmmakers. Tracking the topic across racial, economic, geographic, and even temporal boundaries, Jean Petrolle and Virginia Wexman's selections reflect the deep diversity of methodologies and research. The introduction sets out by addressing the basic difficulties of both historiography and definition, before providing a historical overview of how these particular filmmakers have helped shape moviemaking traditions. The essays explore the major theoretical controversies that have arisen around the work of groundbreaking women such as Leslie Thornton, Su Friedrich, Nina Menkes, and Faith Hubley. With the film-makers re-presentations of women's subjectivity ranging across film, video, digital media, ethnography, animation, and collage, Women and Experimental Filmmaking represents the full spectrum of genres, techniques, and modes. Taken together, these essays comprise a sustained analysis of the conjunction of aesthetics and politics in the work of both pioneer and contemporary experimental women filmmakers. Jean Petrolle is professor of English at Columbia College, Chicago, and has published essays in journals including "Quarterly Review of Film and Image: A Journal of Art and Religion". Virginia Wexman is professor of English at the University of Illinois, Chicago. She is the author of "Creating the Couple: Love, Marriage", and "Hollywood Performance" and "Conversations with Filmmakers: Jane Campion".
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Although Leslie Thornton, Su Friedrich, and Abigail Child began making films in the 1970s, all three became major figures in the generation of American avant-garde filmmakers who came to prominence in the 1980s. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
covert action, visual variations, revisionist aesthetic, harlequin woman, found footage, experimental filmmaking, textual pleasure, narrative pleasure, women filmmakers Key Phrases - Capitalized Phrases (CAPs): (learn more)
New York, Bloody Child, The Tango Lesson, Critical Cinema, Five Year Diary, The Man Who Envied Women, Yvonne Rainer, Glimpse of the Garden, African American, Buenos Aires, Abigail Child, Adams Sitney, Melon Patches, Visionary Film, Fae Richards, The Answering Furrow, Maya Deren, Watermelon Woman, Stan Brakhage, United States, Safi Faye, Rea Tajiri, Screen Writings, Shall We Dance, Marina Abramovic Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
Although Leslie Thornton, Su Friedrich, and Abigail Child began making films in the 1970s, all three became major figures in the generation of American avant-garde filmmakers who came to prominence in the 1980s. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
covert action, visual variations, revisionist aesthetic, harlequin woman, found footage, experimental filmmaking, textual pleasure, narrative pleasure, women filmmakers Key Phrases - Capitalized Phrases (CAPs): (learn more)
New York, Bloody Child, The Tango Lesson, Critical Cinema, Five Year Diary, The Man Who Envied Women, Yvonne Rainer, Glimpse of the Garden, African American, Buenos Aires, Abigail Child, Adams Sitney, Melon Patches, Visionary Film, Fae Richards, The Answering Furrow, Maya Deren, Watermelon Woman, Stan Brakhage, United States, Safi Faye, Rea Tajiri, Screen Writings, Shall We Dance, Marina Abramovic Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
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