To Desire Differently (Paperback)

~ (Author)

Editorial Reviews

Review

In this essential study of film and feminism, Flitterman-Lewis uses three major filmmakers to survey ways in which directors have challenged the cinematic assumptions of the patriarchy. Germaine Dulac was concerned with woman´s desire, Marie Epstein with defining a female gaze, and Agnes Varda with formulating a feminine discourse. . . . Excellent. -- Review

In this essential study of film and feminism, Flitterman-Lewis uses three major filmmakers to survey ways in which directors have challenged the cinematic assumptions of the patriarchy. Germaine Dulac was concerned with woman's desire, Marie Epstein with defining a female gaze, and Agnes Varda with formulating a feminine discourse. . . . Excellent. -- Choice

Review

"In this essential study of film and feminism, Flitterman-Lewis uses three major filmmakers to survey ways in which directors have challenged the cinematic assumptions of the patriarchy. Germaine Dulac was concerned with woman's desire, Marie Epstein with defining a female gaze, and Agnes Varda with formulating a feminine discourse.... Excellent." -- Choice

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Product Details

• Paperback: 384 pages
• Publisher: Columbia University Press (September 15, 1996)
• Language: English
• ISBN-10: 0231104979
• ISBN-13: 978-0231104975
• Product Dimensions: 8.7 x 5.9 x 0.9 inches
• Shipping Weight: 1 pounds (View shipping rates and policies)
• Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
• Amazon.com Sales Rank: #1,062,401 in Books (See Bestsellers in Books)

Customer Reviews

Most Helpful Customer Reviews

5.0 out of 5 stars Wonderful fascinating study of French film!, August 31, 2004

By	Sylviastel - See all my reviews

Dr. Flitterman-Lewis has truly written a fabulous well-researched book about three very different French female filmmakers. Germaine Dulac films are often lost in today's film criticism because they were silent films. She was ahead of her time even without sound. The images itself are memorable. She focuses Marie Epstein's La Maternelle about motherhood, poverty, abandonment and life in the streets of France. La Maternelle was one of the first film using dialogue. It would have been more interesting to read about the live of these two women who are no longer around particularly why Marie Epstein never became a mother herself. Germaine's life is even more interesting for other reasons. Of course, the final French filmmaker is Agnes Varda and her film, Vagabond. While I loved all the films presented in her book, Varda speaks to us about why she directs and her motivations. It would have been complete with a detailed biography of Marie Epstein and Germaine Dulac. This information of their own lives would help us understand why they wrote and directed their films. But this book is strictly for film buffs and French enthusiasts.