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Using a variety of critical and theoretical approaches, the contributing scholars to this collection analyze culturally specific and globally held attitudes about mothers and mothering, as represented in world cinema. Examining films from a range of countries including Afghanistan, India, Iran, Eastern Europe, Canada, and the United States, the various chapters contextualize the socio-cultural realities of motherhood as they are represented on screen, and explore the maternal figure as she has been glamorized and celebrated, while simultaneously subjected to public scrutiny. Collectively, this scholarly investigation provides insights into where women’s struggles converge, while also highlighting the dramatically different realities of women around the globe.
Ten essays explore how the roles, representations, and productivity of women are reflected in contemporary world cinema. Some of the topics are the undercurrent of class in Heavenly Creatures, female icons in recent Russian film, and the quest for external validation in female coming-of-age films. No index. Annotation copyrighted by Book News, Inc., Portland, OR
In Women’s Cinema, World Cinema, Patricia White explores the dynamic intersection of feminism and film in the twenty-first century by highlighting the work of a new generation of women directors from around the world: Samira and Hana Makhmalbaf, Nadine Labaki, Zero Chou, Jasmila Zbanic, and Claudia Llosa, among others. The emergence of a globalized network of film festivals has enabled these young directors to make and circulate films that are changing the aesthetics and politics of art house cinema and challenging feminist genealogies. Extending formal analysis to the production and reception contexts of a variety of feature films, White explores how women filmmakers are both implicated in and critique gendered concepts of authorship, taste, genre, national identity, and human rights. Women’s Cinema, World Cinema revitalizes feminist film studies as it argues for an alternative vision of global media culture.
Women and Migration in Contemporary Italian Cinema: Screening Hospitality puts gender at the centre of cinematic representations of contemporary transnational Italian identities. It offers an intersectional feminist analysis of the ways in which transnational migration has been represented, understood, and constructed in the contemporary cinema of Italy. Drawing on Jacques Derrida’s notion of hospitality and in dialogue with postcolonial and decolonial theory, queer studies, and feminist critiques, the six chapters of the book focus on a series of exemplary fiction films from the last twenty years, which both reflect and shape the nation’s responses to the growing presence of transnational migrants in Italian society. The book shows how questions of gender, sexual difference, and reproductivity have been central to Italian filmmakers’ approaches to stories of mobility and displacement. Gender is also enmeshed in the rhetoric and poetic of hospitality that filmmakers propose as a critical framework to condemn Italian border policies and politics. Women and Migration in Contemporary Italian Cinema: Screening Hospitality traces an arc that moves from the embrace of a humanitarian rhetoric of infinite hospitality toward migrants, apparent in films produced in the early 2000s, to a more fluid understanding of Italian identities from a transnational perspective.
Author : So Mayer Publisher : Wayne State University Press Page : 358 pages File Size : 20,34 MB Release : 2022-04-05 Category : Performing Arts ISBN : 0814348548
This collection belongs on the bookshelves of students and scholars of cinema and media studies, feminist and queer media studies, labor studies, filmmaking and production, and cultural studies.
Noting that motherhood is a common metaphor for film production, Lucy Fischer undertakes the first investigation of how the topic of motherhood presents itself throughout a wide range of film genres. Until now discussions of maternity have focused mainly on melodramas, which, along with musicals and screwball comedies, have traditionally been viewed as "women's" cinema. Fischer defies gender-based classifications to show how motherhood has played a fundamental role in the overall cinematic experience. She argues that motherhood is often treated as a site of crisis--for example, the mother being blamed for the ills afflicting her offspring--then shows the tendency of certain genres to specialize in representing a particular social or psychological dimension in the thematics of maternity. Drawing on social history and various cultural theories, Fischer first looks at Rosemary's Baby to show the prevalence of childbirth themes in horror films. In crime films (White Heat), she sees the linkage of male deviance and mothering. The Hand That Rocks the Cradle and The Guardian, both occult thrillers, uncover cultural anxieties about working mothers. Her discussion covers burlesques of male mothering, feminist documentaries on the mother-daughter relationship, trick films dealing with procreative metaphors, and postmodern films like High Heels, where fluid sexuality is the theme. These films tend to treat motherhood as a locus of irredeemable conflict, whereas History and Memory and High Tide propose a more sanguine, dynamic, and enabling view. Originally published in 1996. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
There is an increasing trend for contemporary French cinema to feature the family unit. As such, it now serves as the ideal locus for criticism and commentary on individual family members. One of the key members, who functions as the basis for many analytical conversations in the real world, is the mother figure. Through presenting her and her various roles in an ironic manner, contemporary French directors François Ozon, Valeria Bruni Tedeschi, and Noémie Lvovsky are each able to provide insight into what society expects of mothers and how mothers and non-mothers react and exist inside the demands of a patriarchal society. In films from the early 2000's to present, Ozon, Lvovsky and Bruni Tedeschi have showcased a myriad of mothers, from the non-mothers who seek motherhood, to the young single mothers struggling to survive, and from the well established mothers seeking empowerment through that role to the grandmother depending on her daughter for survival. By presenting the spectator with such a large variety of maternal imagery, Ozon, Lvovsky and Bruni Tedeschi are each able to criticize what society demands of mothers. Mothers are expected to bear sole responsibility for raising their children, with each fault in behavior a failing on their part. They are also expected to be wholly devoted to their children, sacrificing their own dreams, ambitions, and identities to become the ideal of maternal love. By presenting these mothers, who strive to meet their society's expectations, with a hint of irony, Ozon, Lvovsky and Bruni Tedeschi point to the absurdity of such high expectations for any individual. Through the often optimistic, if not traditionally happy ending, Ozon, Lvovsky, and Bruni Tedeschi are also able to point to a changing climate in the expectations of motherhood within western society, and indicate a hope of the reality of that apparent change.
This book characterises the problematic status of motherhood in present-day Iranian society – that is, problem in the Foucauldian sense of an object of thought and a source of tension, not as a pathological issue – and explains the historical processes contributing to this problematisation. Taking an interdisciplinary approach, the author draws on a cognitive anthropological perspective whilst incorporating ethnographic, historical, and evolutionary viewpoints. By applying this perspective to the current cultural model of motherhood, and considering specific social, political, and economic factors in Iran, the author provides an exhaustive, contextualised understanding of the motherhood problem and its multidirectional changes throughout time. The book follows a multi-method framework and combines qualitative ethnographic and auto-ethnographic data with historical evidence and comparative data. As such, it also contributes to the women's movement in Iran by fostering discussion on women's issues and demystifying women's understandings and experiences. The book will appeal to those working in a range of disciplines, including gender studies, cognitive anthropology and Iranian history. Written in non-technical language, and providing insights into the problem of motherhood in comparable contexts, the book will also be of interest to general readers.
This edited collection examines the synergistic relationship between gender and urban space in post-millennium Spain. Despite the social progress Spain has made extending equal rights to all citizens, particularly in the wake of the Franco regime and radically liberating Transición, the fact remains that not all subjects—particularly, women, immigrants, and queers—possess equal autonomy. The book exposes visible shifts in power dynamics within the nation’s largest urban capitals—Madrid and Barcelona—and takes a hard look at more peripheral bedroom communities as all of these spaces reflect the discontent of a post-nationalistic, economically unstable Spain. As the contributors problematize notions of public and private space and disrupt gender binaries related with these, they aspire to engender discussion around civic status, the administration of space and the place of all citizens in a global world.