By Anneke Smelik

And The reflect Cracked explores the politics and pleasures of latest feminist cinema. Tracing the efficient ways that feminist administrators create replacement movie kinds, Anneke Smelik highlights cinematic concerns that are vital to feminist movies: authorship, viewpoint, metaphor, montage, and the over the top photograph. In a continual replicate video game among thought and cinema, this learn explains how those cinematic suggestions are used to symbolize woman subjectivity certainly and affirmatively. one of the motion pictures thought of are A query of Silence, Bagdad Café, and Sweetie and the Virgin Machine.

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Additional info for And the Mirror Cracked: Feminist Cinema and Film Theory

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The Subjective Factor constructs Page 35 and supports the women's struggle with themselves and with their surroundings, in their double conflict with both middle-class values and the left-wing students' movement. In some ways it is the journal of a crisis. For Sander, subjectivity (as referred to in the film title) is not a certain degree of autobiography, but rather a process of experience, which is privileged over story, just as narrativity is privileged over the finished product of narrative.

I want to hack at that again and again until the meaning of this sentence is finally understood. I tie this up with the question of how we learn history and what we learn from it. (Sander 1981: 5; translation AS) 6 I tend to see this position as (self-)consciously subjective, in the sense that it questions and interrogates the very form of subjectivity which it portrays. Consequently, Sander has chosen not to subordinate the fictional level to any form of documentary report. By intercutting authentic material into staged scenes she indicates that The Subjective Factor is not an imitation of historical events but a specific representation of those events.

Where in the case of male directors all the emphasis is focused on the individual filmmakers, in the case of women they all get lumped together. Directors as diverse as Ulrike Ottinger, Helke Sander and Margarethe von Trotta are subsumed by the same, nondescript title of 'women's cinema'. The specific structural, stylistic and thematic features of their respective films tend to be assessed within the narrow confines of this spurious genre, to the detriment of their individual characteristics. Moreover, as Knight also points out, German critics tend to classify all female filmmakers under feminism, thus flattening out their singularity even further.

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