Women's cinema : the contested screen

By:

Butler, Alison

Material type: Text

TextPublication details: London Wallflower 2002Description: 134pISBN:

9781903364277 (pbk)

Subject(s):

DDC classification:

791.43082 BUT

Summary: Women's Cinema provides an introduction to critical debates around women's filmmaking and relates those debates to a variety of cinematic practices. Taking her cue from the groundbreaking theories of Claire Johnston, Alison Butler argues that women's cinema is a minor cinema that exists inside other cinemas, inflecting and contesting the codes and systems of the major cinematic traditions from within. Using canonical directors and less established names, ranging from Chantal Akerman to Moufida Tlatli, as examples, Butler argues that women's cinema is unified in spite of its diversity by the ways in which it reworks cinematic conventions.

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Holdings
Item type	Current library	Collection	Call number	Status	Date due	Barcode
Book	Plaksha University Library	Art & Architecture	791.43082 BUT (Browse shelf(Opens below))	Available		004430

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Previous	791.430232 WAL The complete guide to film and digital production : the people and the process	791.43028 MAJ Wanted cultured ladies only! : female stardom and cinema in India, 1930s-1950s	791.43028092 KHA The best mistakes of my life	791.43082 BUT Women's cinema : the contested screen	791.43082 WHI Women's cinema, world cinema : projecting contemporary feminisms	791.430954 GEH Twenty-first century bollywood	791.430954 PRA Ideology of the hindi film : a historical construction	Next

Women's Cinema provides an introduction to critical debates around women's filmmaking and relates those debates to a variety of cinematic practices. Taking her cue from the groundbreaking theories of Claire Johnston, Alison Butler argues that women's cinema is a minor cinema that exists inside other cinemas, inflecting and contesting the codes and systems of the major cinematic traditions from within. Using canonical directors and less established names, ranging from Chantal Akerman to Moufida Tlatli, as examples, Butler argues that women's cinema is unified in spite of its diversity by the ways in which it reworks cinematic conventions.

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