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feminist filmmakers
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Journal Article
Camera Obscura (2021) 36 (3 (108)): 89–103.
Published: 01 December 2021
... feminist experimental film praxis: an emphasis on collaboration, an insistence on the importance of feminist lineages and history (looking backward), and a simultaneous valorization of open futures. Interestingly, the film also expresses and articulates other connections between the two filmmakers...
FIGURES
Journal Article
Camera Obscura (2009) 24 (3 (72)): 111–151.
Published: 01 December 2009
... the contributions of women filmmakers and the influence of feminist thought might be registered within these paradigms, gender and feminist political analyses are not integral to their geographic and discursive rationales. Feminisms' historical roles in industrial, national, and transnational independent, art...
Journal Article
Camera Obscura (2008) 23 (2 (68)): 41–66.
Published: 01 September 2008
... to The Watermelon Woman to suggest how reflexivity might be used otherwise. A discussion of the film's reflexive movements illuminates the ways that certain feminist filmmaking practices, though highly influential, are excluded from theoretical discussions on modes of cinematic discourse and maintained instead...
Journal Article
Camera Obscura (2019) 34 (2): 103–131.
Published: 01 September 2019
.../France, 2012). It explores how one of the most prominent contemporary feminist filmmakers, whose work celebrates the life and activism of revolutionary women from Rosa Luxemburg to Gudrun Ensslin from the Red Army Faction, transforms the “historical Arendt” into a “cinematic Arendt.” Although...
Journal Article
Camera Obscura (2013) 28 (1 (82)): 125–133.
Published: 01 May 2013
... to reflect on the past and present, the successes
and challenges of feminist film culture, the relationship feminist
filmmaking has with film studies, and the resonance today of the
More Than “Just Talk” • 127
commitments and values WMM articulated in its...
Journal Article
Camera Obscura (2022) 37 (3 (111)): 31–57.
Published: 01 December 2022
... the colonial, patriarchal gaze and its temporal distanciation and subjugation and invites us to reassess the linear feminist narratives of evolution, progress, and/or loss that often tend to rely on reductive historical periodization. Strand's filmmaking methods and style provide us with an alternative...
FIGURES
Journal Article
Camera Obscura (1983) 4 (2 (11)): 72–85.
Published: 01 September 1983
... and talking right
now than anybody in the avant-garde film world is.
LR: In the reviews which have been written about your films, you have
been described as a feminist filmmaker. How would you define your work
in relation to feminism?
MK: I think the reviews accurately represent the point of view...
Journal Article
Camera Obscura (2016) 31 (2 (92)): 119–147.
Published: 01 September 2016
.... 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...
Journal Article
Camera Obscura (1983) 4 (2 (11)): 60–71.
Published: 01 September 1983
...Linda Reisman © 1983 by Camera Obscura 1983 DaughtersofChaos (Marjorie Keller, 1979)
Personal Film / Feminist Film
Linda Reisman
1.
With [Daughters ofChaos] [Keller] is established
as a major filmmaker, perhaps the only major...
Journal Article
Camera Obscura (1979) 1-2 (3-1 (3-4)): 21–31.
Published: 01 May 1979
... “entertainment” films in which the
feminine “voice,” by formal means, breaks through (ruptures) the
patriarchal discourse. It is equally about the lessons to be learned from
these examples for feminist filmmaking.
As presented most fully and clearly in Notes on Women’s Cinema...
Journal Article
Camera Obscura (2020) 35 (2 (104)): 159–169.
Published: 01 September 2020
..., Lisa French notes, In 1975, second- wave feminist filmmakers had a number of projects an important one being rediscovering the women of history . . . whose contributions had gone unrecorded and unmarked. 16 Patricia White describes such activities as an act of historical retrieval. 17 Revisiting...
Journal Article
Camera Obscura (2016) 31 (3 (93)): 153–163.
Published: 01 December 2016
...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...
Journal Article
Camera Obscura (2017) 32 (1 (94)): 179–186.
Published: 01 May 2017
... filmmaking—and, indeed, in Hollywood—through her professional and personal ideology, her relationship with Roger Corman, and her marginalized place in film history. In so doing, this article provides an interventional model for the reconceptualization of film histories and archives through a feminist...
Journal Article
Camera Obscura (2022) 37 (3 (111)): 145–177.
Published: 01 December 2022
...Clara Bradbury-Rance Abstract Across her body of work in film, television, and digital media, Desiree Akhavan has captured the awkward politics of cultural production for female filmmakers and media-makers. Yet she has also refused to straightforwardly align her work with feminist critiques...
FIGURES
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Journal Article
Camera Obscura (1989) 7 (2-3 (20-21)): 40–52.
Published: 01 December 1989
... [of the female spectator] in my view has been too
confined to American cinema of the classical Hollywood period/auteurs,
to the current detriment of women filmmakers and especially feminist
filmmakers. . . . [Tlhe history of the last two decades, the period...
Journal Article
Camera Obscura (1981) 3 (1 (7)): 136–143.
Published: 01 May 1981
..., there was the automatic assump-
tion that feminine difference meant gender difference, and a fre-
quent conflation of “feminine” with feminist when addressing the
questions of women filmmakers and spectators/critics. Particularly
troublesome was the notion of a specific feminine discourse, i. e...
Journal Article
Camera Obscura (1984) 4 (3 (12)): 144–156.
Published: 01 December 1984
... Kuhn’s book by that title, Women’s Pictures:
Femznibn and Cinema, is an extremely clear-sighted account of the
various meanings of the phrase which continue to multiply under exami-
nation. In the preface, Kuhn recounts the beginnings of her awareness of
feminist filmmaking...
Journal Article
Camera Obscura (2020) 35 (2 (104)): 125–157.
Published: 01 September 2020
... investment in the Black feminist filmmaking of the LA Rebellion, coming as it does from a white feminist subject posi- tion, is precisely in the continual work of unmooring that the films and filmmakers enact and in the ways this practice contributes to my own ongoing processes of learning to inhabit anti...
Journal Article
Camera Obscura (1977) 1 (2 (2)): 115–121.
Published: 01 September 1977
... for feminist filmmaking. It is not sim-
ply the fact that a woman's gestures, and the kind usually considered
(and rendered) undramatic and uninteresting, are the unexpected focus
of attention that makesJeanne Die/man an important film. Indeed, what
does it mean to give this exacting...
Journal Article
Camera Obscura (1989) 7 (2-3 (20-21)): 53–67.
Published: 01 December 1989
... , Felicity . “Independent Feminist Filmmaking and the Black Hole,” Filmnews (November-December 1983 ): 12 –13. Collins , Felicity . “A (Sad) Song of the Body,” Screen 28 , no. 2-3 ( 1987 ): 78 –89. Collins , Felicity . “‘Should a Feminist Knit?’: Narcissistic Narratives and the Other...
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