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Women's Experimental Cinema
Women’s Experimental Cinema provides lively introductions to the work of fifteen avant-garde women filmmakers, some of whom worked as early as the 1950s and many of whom are still working today. In each essay in this collection, a leading film scholar considers a single filmmaker, supplying biographical information, analyzing various influences on her work, examining the development of her corpus, and interpreting a significant number of individual films. The essays rescue the work of critically neglected but influential women filmmakers for teaching, further study, and, hopefully, restoration and preservation. Just as importantly, they enrich the understanding of feminism in cinema and ex...
Visions of the Maid
Representations of Joan of Arc have been used in the United States for the past two hundred years, appearing in advertising, cartoons, popular song, art, criticism, and propaganda. The presence of the fifteenth-century French heroine in the cinema is particularly intriguing in relation to the role of women during wartime. Robin Blaetz argues that a mythic Joan of Arc was used during the First World War to cast a medieval glow over an unpopular war, but that she only appeared after the Second World War to encourage women to abandon their wartime jobs and return to the home. In Visions of the Maid, Blaetz examines three pivotal films--Cecil B. DeMille's 1916 Joan the Woman, Victor Fleming's 1948 Joan of Arc, and Otto Preminger's 1957 Saint Joan--as well as addressing a broad array of popular culture references and every other film about the heroine made or distributed in the United States. Blaetz is particularly concerned with issues of gender and the ways in which Joan of Arc's androgyny, virginity, and sacrificial victimhood were evoked in relation to the evolving roles of women during war throughout the twentieth century.
Women's Experimental Cinema
This volume offers introductions to the work of fifteen avant-garde American women filmmakers.
Fresh Verdicts on Joan of Arc
Joan of Arc has long piqued the historical imagination, for it seems impossible that a peasant-maid couldhave led the French army, crowned her king, and then been burned as a heretic, only later to be found a saint. This volume of original essays seeks to shed light on these mysteries, but also to explain why, even in the 20th century, Joan of Arc remains such a potent symbol. Scholars here employ the latest tools of historical analysis, literary criticism, and feminist inquiry to reveal why verterans of her military campaigns found her to have been a remarkable commander; why so many of her contemporaries and near-contemporaries, churchman and poets alike, found it possible to accept the validity of her mission and her voices; why modern politicians and literary and cinematic artists have used her as the symbolic vehicle for their own visions; and why the Catholic Church finally decided to canonize her in 1920. The essays are heavily cross-referenced, and are capped off with a reflective epilogue by R gine Pernoud, long the dean of Joan scholars and former director of the Centre Jeanne d'Arc at Orleans. Also includes maps.
The Maternal Imagination of Film and Film Theory
This book challenges common sense understandings of the unconscious effects of cinema and visual culture. It explores the castrating power of the early modern witch and the historical belief that pregnant women could manipulate and distort body image as figurative analogies for feminist theories of objectification and the male gaze. Through developing this history as an impure but lively analogy, this book serves as a provocation against the dominant imagining of objectification. It offers innovative analyses of a wide-ranging selection of films and topics including Joyce Wieland’s Water Sark (1964) and its resonance with the works of John Cage and Stan Brakhage; the documentary Histoires d’A (History of Abortion, 1973), which contributed to the successful legalisation of abortion in France; the Hong Kong horror film Dumplings (Jiaozi, 餃子 2004), where foetal cannibalism serves up an image of censorship; and the dual productions The Book of Mary (Le livre de Marie) and Hail Mary (Je vous salue, Marie, 1985) by Anne-Marie Miéville and Jean-Luc Godard that figure a self-reproducing virgin who hears herself while remaining a virgin, unseen.
The Avant-Garde Feature Film
Here is a critical and historical overview of unconventional and aesthetically challenging films, all of feature length. The author focuses on the particular forms of contemporary avant-garde films, which often rely on characteristics associated with historical films of the same genre. Included are works by such visionary filmmakers as David Lynch, Luis Bunuel, Jean Cocteau, Jean-Luc Godard, Guy Maddin and Derek Jarman. The first of the two appendices contains a filmography of key avant-garde feature films, from Haxan: Witchcraft Through the Ages (1922) to Maximum Shame (2010). The second appendix offers a brief list of directors who have made significant contributions to films that take alternative approaches to cinematic practice, establishing new grounds for analysis and evaluation.
Medievalism in North America
Studies on the influence of the middle ages, and in particular the Arthurian legends, on the culture of North America. Fifteen essays trace North America's enthusiastic engagement with the middle ages from the Revolution to Disney. There are eight studies of the American reception of Arthur: in art (Abbey, Rosenthal), literature (Canadian writers, John Ciardi), scholarship (R.S. Loomis), politics (JFK), and popular culture (Arthurian youth groups, Disneyland, the Excalibur Casino). Other topics include Tom Paine, Elbertus Hubbard, Edgar Rice Burroughs, C.B. DeMille, popular treatments of Villon, the roots of the New Mexican cuento, and the rhetoric of the Gulf War. Contributors: ROGER WOOD, KYMBERLEY N. PINDER, ERICA E. HIRSHLER, ALAN LUPACK, CHARLOTTE OBERG, RAYMOND H. THOMPSON, STAN GALLOWAY, ROBIN BLAETZ, ROBERT D. PECKHAM, JEFF RIDER, KLAUS P. JANKOFSKY, MARY MORSE, PAMELA S. MORGAN, SUSAN ARONSTEIN, NANCY COINER, JONATHAN M. ELUKIN
Feminist Film Studies
This comprehensive textbook provides an accessible overview of the field of women and film, complemented by an analyses of key texts that illustrate major topics in the field. The text covers a wide range of areas in which women's representation and involvement in film are paramount issues.
The Religious Film
From The Gospel According to Matthew to Jesus ChristSuperstar, from The Passion of Joan of Arc to TheLast Temptation of Christ and Jesus of Montreal, TheReligious Film captures the glory, gore, and centrality of thisimportant genre. A short, accessible introduction to religious film, exploringthe genre as spectacle, as musical, and as controversy Examines the historical, cultural and critical background forreligious films from the silent era through to the presentday Introduces the complexities and characteristics of this iconicgenre of film, including common sounds and images, and the valuesthat most traditional films of this kind uphold
Lost Illusions
This volume examines the development of film and the film industry during the 1970s and the political and economic background that influenced it.
