.... Copyright © 2019 Camera Obscura 2019 Chantal Akerman Shoah Jewishness mother-daughter dialogues multigenerational spatial aesthetics ...

...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...

... within her story, Charlotte’s defiance of her mother is spoken through a man. When Dr. Jacquith takes Charlotte away from the Vale home in Boston, he too must defy the mother and “place” the daughter, the throne being a new position within the narrative, the move from sickness to health...

... and illness in the contemporary world. 21 Murmur of the Heart takes mother/son incest as subject, where, by contrast, Kung-fu Master! plays out its maternal eroticism at one remove. Mary-Jane is a mother of daughters, and her house is a feminine space. Varda shows the mother and daughters...

... by the female subject due to the daughter’s more immediate “specular identification with the mother” (28). If “she” is “I,” then, as Kristeva emphasizes, matricide for the daughter is “difficult, if not impossible” (29). Indeed, for her the dilemma, “Daughter of the father? Or daughter of the mothera dilemma...

... the most important aspect of this argument is the way in which Chodorow's analysis of the "connectedness of the mother• daughter bond" places a "new value on the multiple and continuous female identity capable of fluidly shifting between the identity of mother and daughter" (p.9). Chodorow's model...

... my father's dream, to have a family. I stayed a girl, the daughter of my mother. In the end, I don't know. My sister, yes: she started a family in Mexico. She has two beautiful, intelligent children. My niece is getting married soon and the line will continue. Sometimes I regret not having kids...

.... As diegetic daughter, she stands in for Denis's affiliation to Ozu, but as a young cineaste in a film on familial ties by a famous female auteur, she can be simultaneously read as Denis's own symbolic daughter. These mother-daughter associations are bolstered by how Diop and Denis forecast different...

... reply (“NoPaul complains that it’s not fair that mothers can touch their children more easily than fathers. By thus framing Is Paul’s question, the film suggests not that men want to touch their daughters because they have perverse desires, but that they have per- verse desires because...

... explains to her daughter that sex is a terrible necessity, and that the inevitable pregnancy is no less terrible. Is the reduction of the woman to the role of childbearer linked to the symbolic role of the woman as mother in the Nazi period, and is this reduction still dominant in the 1950s...

... Gomez. In keeping with the initial thesis of the book, those independent films which deal with the mother-daughter rela- tionship are accorded a privileged status and a separate chapter. A detailed comparison of Mulvey /Wollen’s RiddLes of the Sphinx and Michelle Citron’s Daughter-Rite...

... In the subsequent episode, Molly's daughter, Rosalie, assumes the role of ideological tutor to her mother. When planning a move out of their Bronx apartment to a new house in the suburbs, Molly ruminates about where to place her furniture in the new home. "You don't mean we're going...

..., one of the purposes of her gender nonconformity was to translate her “sex perversion” into visual terms, and in so doing to communicate the incestuous desire that perverts the relationship between mother and daughter in the novel to audiences in ways that did not violate the Production Code...

... and mother through a “racial angle.” Thus the film also borrows the terms set up by Imitation of Life, which stages its twin maternal melodramas within the framework of inter- and intra- racial difference. That film turns on parallel mother-daughter conflicts. Ambitious single mother Lora Meredith (Lana...

..., mother, whore, witch, vamp7 is constituted-and de- constituted-under the direction of one of the male characters, which in turn predicates the look of another, or many others, including the spectator. And Lang also presents these looks, in the “thousand eyes” of the spectator at Rotwang’s party...

... and metaphorically framed by my daughter and my 75 year old mother, with my 96 year old grandmother in the wings, staring at the grotesque, magnifying mirror I need in order to apply makeup, I am at another stage in the mirror-one which Lacan and theories of desire could not imagine. My calculation...

..., the film crew). Her muttered refrain, “Come here. Don’t let go of the children. Come home. Take the children by the arm,” has no audience within the dieg- esis but, I suggest, echoes beyond the final frame. Makhmalbaf presents both mother and daughters as physi- cally and verbally disabled...

... relinquish in the movement out of the oedipal moment. Melodra- mas often focus on the conflicts between mothers and daughters.24 While the threat this closeness poses to heterosexual attachments can be viewed as subversive, the patriarchal contextualization often figures the mother as possessive...

... two themes around the figure of an adolescent grl: the mother-daughter relationship and the difficulties of the gxl in dealing with her environment. Three crucial years of the protagonist’s life (from thirteen to sixteen) become the focus of her confrontation with the sexual...

... that are incompatible with social death, even when they are inevitably moored within its ontological structure. Figure 1. A woman grips the bars of her hospital window after burning her daughter with a hot straightening comb in Alile Sharon Larkin s first student film, The Kitchen (1975). In 1975, Julie Dash and Alile...