... through these questions, the article studies the documentary work of queer-feminist migrant labor activism in East Asia. This work offers particularly valuable insight into a strategy summarized here as sentimental activism : the simultaneous repetition and radical decentering of liberal rights discourse...

...Lakshmi Padmanabhan What can photographic form teach us about feminist historiography? Through close readings of photographs by visual artist and documentary photographer Sheba Chhachhi, who documented the struggle for women’s rights in India from the 1980s onward, this article outlines...

.... Together, these films encourage us to revisit debates about feminist postcolonial ethics in transnational documentary. How might one share the emotional intensity of the other ethically, without projecting a false similarity? What role does a bicultural and bilingual woman filmmaker play in mediating...

... salient.23 Cheryl’s project within the film is a documentary seeking to find out the “truth” about a black woman hidden within and by film history, a project thus referencing rec- ognizable forms of feminist historiography. The Watermelon Woman highlights the kind of speaking/filming positions...

... from the outset, feminist documentary and video work traditionally has been preoccupied with both giving voice to the unheard and plac- ing an emphasis on media making as a collaborative process for the development of political consciousness.3 US artist Natalie Bookchin’s digital video...

... Is an Object: Realizing the Feminist Collaborative Video Alexandra Juhasz No woman is filmed as an object; everyone is a subject who combines and presents physical, emotional, intellectual, and political selves. —Julia Lesage, “The Political Aesthetics of the Feminist Documentary Film...

... (p. 42) (emphasis mine). In the camp of socialist realist cinema, now also related to classic realist cinema, Kuhn places the feminist documentary. She then contrasts feminist documentaries to deconstructive cinema, for feminist documen- taries do not, she claims, challenge...

...- American feminist filmmakers attempting to challenge dominant patriarchal repre- sentations. Kaplan divides these films into three categories: (1) the experi- mental, formalist, avant-garde film, (2) the realist political and socio- logical documentary, and (3) the avant-garde theory film...

... with the sound of her voice—gives us a unique model for rethinking the pairings of film sound and image and documentary subject and object not as irrevocably divided but as operating alongside one another, albeit in an uneven and instable manner. Taking inspiration from feminist and queer theories...

... as a whole was the target audience for feminist documentaries made in the seventies, and that group discussions revealed differences in men’s and women’s responses to the talking-head, biographical film. As I recall after showing Kate Millett’s Three Lives, a student came up to me...

...Marusya Bociurkiw From 1972 to the early 1990s, Canadian feminist media collectives created dozens of social-issue documentaries and television series, producing an ephemeral archive of a vibrant era of political and social change. This article discusses the loss and/or deterioration...

... Studies Program at the University of Pittsburgh. In support of her research, she has received honors and awards from the Andrew Mellon Foundation and the American Association of University Women, among other organizations. Her primary interests are film historiography, documentary cinema, feminist media...

.... In 64  •  Camera Obscura this way her films are reminiscent of early feminist documentaries in which, as Julia Lesage poignantly writes, “no woman is filmed as an object; everyone is a subject.”6 Unlike filmmakers of the previous generation, who addressed youth issues in Russian cinema...

... by the articulation of a collective aesthetics and mimetic politics in its work but also by the institution’s deliberate construction of its output as a carefully curated collection. New Day Films was formed in 1972 — on the cusp of sweep- ing changes in documentary and feminist filmmaking practice...

... an observa- tional style. It is through these conventions that Longinotto orients the narratives toward collusion with particular individuals and a shared political agenda between filmic subjects and codirectors. In her discussion of feminist documentary practice in the 1970s and 1980s, Julia Lesage...

... was dismissed as nonessential to the advancement of post-Mao new cinema in the late 1980s. Post-Mao feminist film scholars have since expressed their disappointment with Zhang’s films due to their incomplete break from the socialist mainstream cinema of the Mao era. This article closely studies Zhang’s most...

... of ecological crisis at the hands of deforestation and porn studies with two aims. First, it highlights the fraught relationship a pornographic video aggregator like Pornhub might share with feminist and queer epistemologies. Second, it emphasizes the ecosexual nature of environmental justice by way...

...Scott MacKenzie; Anna Westerståhl Stenport Arnait Video Productions is one of the most aesthetically diverse feminist collectives in the world. Founded in 1991 in Igloolik, Nunavut, Canada, by Madeline Piujuq Ivalu and Marie-Hélène Cousineau as the first women's Inuit filmmaking collective, Arnait...

... covers the growth of the organization since the 1970s, the close connection between feminist film theory and independent filmmaking in the 1980s, changes in the culture of documentary, gender inequities in film directing and in financing of films about women, the impact of digital culture on educational...

... wrote to, I did hear from a number whose insights and comments warrant detailed attention here. Adhering to one of the early precepts of feminism and certainly much feminist documentary practice, I’d like to allow those women to speak for themselves. What follows is a long...