Genre, Authorship and Contemporary Women Filmmakers最新文献

Hollywood Transvestite: Kathryn Bigelow’s The Hurt Locker1 好莱坞异装癖:凯瑟琳·毕格罗的《拆弹部队》

Genre, Authorship and Contemporary Women Filmmakers Pub Date : 2018-07-01 DOI: 10.3366/edinburgh/9781474425261.003.0004

K. Paszkiewicz

{"title":"Hollywood Transvestite: Kathryn Bigelow’s The Hurt Locker1","authors":"K. Paszkiewicz","doi":"10.3366/edinburgh/9781474425261.003.0004","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474425261.003.0004","url":null,"abstract":"This chapter offers an analysis of the authorial persona of Kathryn Bigelow in relation to her Iraq War movie, The Hurt Locker (2008). Bigelow represents a cause célèbre for feminist criticism in terms of her apparent abandonment of her earlier experimental work for mainstream narrative fiction, her presumed subversion of Hollywood gender types and genres, her refusal of both feminist and gendered identities, and her ‘capitulation’ to the supposedly masculinist action genre. Bigelow’s work thus puts into tension the conjunction of women filmmakers, genre, authorship and the questions posed by feminist film criticism – issues dramatised by her nomination for the Best Director Oscar in competition with her former husband’s sci-fi film, Avatar (2009). In contrast to the readings that regret the lack of female characterisation or that place The Hurt Locker within the realist realm of signification – considering Bigelow’s aesthetics as a documentary gesture that transmits an accurate description of warfare – the chapter explores the director’s highly self-aware and metageneric approach to filming. While framing it within Bigelow’s authorial signature, the chapter argues that The Hurt Locker participates in the contemporary war film format, conceptualised by Robert Burgoyne (2013) as a ‘body genre’, concluding that the film creates tensions between abstract, mythical masculinity and the singular, material body at risk.","PeriodicalId":105961,"journal":{"name":"Genre, Authorship and Contemporary Women Filmmakers","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122256011","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Impossible Liaisons? Genre and Feminist Film Criticism 不可能的联络人吗?类型与女权主义电影评论

Genre, Authorship and Contemporary Women Filmmakers Pub Date : 2018-07-01 DOI: 10.3366/edinburgh/9781474425261.003.0001

K. Paszkiewicz

{"title":"Impossible Liaisons? Genre and Feminist Film Criticism","authors":"K. Paszkiewicz","doi":"10.3366/edinburgh/9781474425261.003.0001","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474425261.003.0001","url":null,"abstract":"This chapter traces how, traditionally, feminist analyses of films authored by women tended to centre on experimental or art-house cinema and, subsequently, on genres culturally codified as ‘female’. It then goes on to engage with the most important debates around the concept of ‘women’s cinema’ and their significance in relation to genre theory. In particular, Alison Butler’s insights into women’s cinema as ‘minor cinema’, adapted from Deleuze and Guattari’s (1975) concept of the minor – as an alternative to the negative aesthetics of counter-cinema – is particularly apt here, as it allows for a reconsideration of women’s film authorship in mainstream productions and the ‘major’ language of film genres. Following and expanding this concept, it is argued that genres can be particularly productive spaces from which to think about female filmmakers, film authorship and the cultural politics of gender (especially in terms of the status of the woman author or her lack of status), as will be explored in the following chapters. Finally, instead of locking women filmmakers into a segregated gender sphere defined by ‘women’s culture’, the chapter argues for the mutability of gendered identities and questions the oversimplified notion of gender-to-gender cinematic identification – a typical assumption underpinning the categorisation of genres by gender – and suggests that ‘opportunities for resistance are more available than the opposition between “dominant cinema” and “counter-cinema” allows’ (Cook 2012: 33).","PeriodicalId":105961,"journal":{"name":"Genre, Authorship and Contemporary Women Filmmakers","volume":"142 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131965644","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Genre on the Surface: Sofia Coppola’s Marie Antoinette 表面类型:索菲亚·科波拉的《玛丽·安托瓦内特》

Genre, Authorship and Contemporary Women Filmmakers Pub Date : 2018-07-01 DOI: 10.3366/edinburgh/9781474425261.003.0006

K. Paszkiewicz

{"title":"Genre on the Surface: Sofia Coppola’s Marie Antoinette","authors":"K. Paszkiewicz","doi":"10.3366/edinburgh/9781474425261.003.0006","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474425261.003.0006","url":null,"abstract":"Sofia Coppola, one of the most visible indie directors in recent years, is clearly embedded in the ‘commerce of auteurism’ (Corrigan 1991), as she actively participates in constructing her public image. Building on existing scholarship on the filmmaker as illustrative of the new critical paradigm in studies of women’s film authorship, the first section of this chapter looks at the promotional and critical discourses surrounding her films to trace the various processes of authentication and de-authentication of Coppola as an auteur (family connections, the privileged position in the American film industry, her filmmaking style marked by a focus on flat affects and the mise-en-scène’s surface details, as well as her interest in postfeminist/neoliberal femininity which has divided critics, especially with her 2013 feature film, The Bling Ring). In the exploration of Coppola’s authorial status, the chapter sheds light on the issue of genre, arguing that her engagement with familiar conventions is far more complex than current analysis of her work has acknowledged. This is particularly evident in the case of Marie Antoinette (2006), a film which has been read variably as a costume drama and/or as a historical biopic. In establishing a dialogical relationship between biopic and costume drama scholarship, the chapter centres on self-conscious devices deployed in Coppola’s film, which are mobilised not against but through a logic of a feminised consumerist culture. The aim is not to reject the supposed ‘feminising’ aspects of the costume drama or to masculinise them in framing the film as a ‘self-conscious’ biopic, but rather to investigate the gender anxieties that underlay the labelling of genres by film criticism.","PeriodicalId":105961,"journal":{"name":"Genre, Authorship and Contemporary Women Filmmakers","volume":"26 2","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120820105","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Desperately Seeking Wonder Women 拼命寻找神奇女侠

Genre, Authorship and Contemporary Women Filmmakers Pub Date : 2018-07-01 DOI: 10.3366/EDINBURGH/9781474425261.003.0008

K. Paszkiewicz

{"title":"Desperately Seeking Wonder Women","authors":"K. Paszkiewicz","doi":"10.3366/EDINBURGH/9781474425261.003.0008","DOIUrl":"https://doi.org/10.3366/EDINBURGH/9781474425261.003.0008","url":null,"abstract":"This Afterword summarizes the arguments made throughout the book, underscoring the variety of ways in which women filmmakers draw on generic conventions. It focuses on the benefits of considering the mode of generic production not as an obstacle, but as a resource for creative imagining. It highlights that the constructed opposition between women’s culture and men’s culture has a profound impact on critical reception and discursive circulation of films, and details several critical strategies employed to make sense of particular examples of women’s cinema. The central argument is that the discourses around “exceptionality” (and in some cases “masculinity”) that surround women filmmakers tend to marginalize their genre film production as a rare anomaly and obscure other possible dimensions of their films: the popularity among a wide range of audiences, engagement with feminism filtered through the generic, intertextual connections with other women’s work, to give only some examples. Rather than being rare examples of a subversive ‘counter-cinema’, all of the films under discussion show the potential advantages of conceptualising women’s cinema as genre cinema – understood as a ‘constellation’ of cultural, aesthetic and ideological materials – which facilitates a more inclusive range of possibilities than those allowed by the traditional auteurist readings.","PeriodicalId":105961,"journal":{"name":"Genre, Authorship and Contemporary Women Filmmakers","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129976543","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Repeat to Remake: Diablo Cody and Karyn Kusama’s Jennifer’s Body 重复重拍:Diablo Cody和Karyn Kusama的Jennifer 's Body

Genre, Authorship and Contemporary Women Filmmakers Pub Date : 2018-07-01 DOI: 10.3366/edinburgh/9781474425261.003.0003

K. Paszkiewicz

{"title":"Repeat to Remake: Diablo Cody and Karyn Kusama’s Jennifer’s Body","authors":"K. Paszkiewicz","doi":"10.3366/edinburgh/9781474425261.003.0003","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474425261.003.0003","url":null,"abstract":"If, as Jane Gaines (2012) suggests, instead of ‘transgressing’ the formal dictates of the industrial genre (that is, instead of ‘going against genre’), some women filmmakers ‘go with genre’, this might be particularly so in the case of horror cinema. The analysis of the much-maligned Jennifer’s Body (2009), written by Diablo Cody and directed by Karyn Kusama, demonstrates precisely this point. The chapter begins by discussing the marketing of Jennifer’s Body, in order to show how those in charge of film distribution and publicity used the director’s and writer’s gender as a promotional tool, and how the filmmakers themselves might have determined certain feminist and postfeminist readings of their film. These readings are contextualised within Diablo Cody’s broader self-promotional activities and her “commercial auteurism” (Corrigan 1991) and raise several questions about what is at stake when women practitioners make horror films and the implications should a filmmaker self-identify as a feminist filmmaker. The chapter then offers a close examination of Jennifer’s Body by rethinking the theories of Barbara Creed (1993) and Carol J. Clover (1992) and by inscribing the film within the wider context of teen movies and postfeminist media culture, making room for reflection on female spectatorial pleasures. It concludes that rather than undoing the horror genre, Jennifer’s Body explores its productive potential, participating in its continuous re-inscription of the relationship between women and violence.","PeriodicalId":105961,"journal":{"name":"Genre, Authorship and Contemporary Women Filmmakers","volume":"188 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121070532","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Subversive Auteur, Subversive Genre 颠覆性的导演，颠覆性的类型

Genre, Authorship and Contemporary Women Filmmakers Pub Date : 2018-07-01 DOI: 10.3366/edinburgh/9781474425261.003.0002

Katarzyna Paszkiewicz

{"title":"Subversive Auteur, Subversive Genre","authors":"Katarzyna Paszkiewicz","doi":"10.3366/edinburgh/9781474425261.003.0002","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474425261.003.0002","url":null,"abstract":"This chapter offers a theoretical revision of auteur theory as a gendered concept, as well as reconceptualisation of women’s cinema and film authorship in relation to genre theory. It starts by raising several questions: is the much-debated concept of auteur equally applicable to female filmmakers, and if so, how, and in what cultural and industrial contexts? Does the female director working in genre film ‘transcend’ the industrial form in the way that the male auteur is said to ‘transcend’ genre? The first section of this chapter briefly explores the gendering of the politique des auteurs and discusses the implications of the ‘death of the author’ for feminist criticism. It then goes on to consider new approaches to film authorship, which offer a more dialogical, ‘interactive’ relationship to wider film cultures than the previously discussed perspectives. The remainder of the chapter builds on Jane Gaines’s (2012) argument on the interchangeability of the critical categories ‘women’ and ‘genre’, and the problematic question of feminist/authorial subversion of mainstream forms. The chapter’s central argument is that rather than subverting genres, some women directors explore their aesthetic and imaginative power.","PeriodicalId":105961,"journal":{"name":"Genre, Authorship and Contemporary Women Filmmakers","volume":"27 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121610633","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

What a Woman Wants? Nancy Meyers’s The Intern

Genre, Authorship and Contemporary Women Filmmakers Pub Date : 2018-07-01 DOI: 10.3366/edinburgh/9781474425261.003.0007

K. Paszkiewicz

{"title":"What a Woman Wants? Nancy Meyers’s The Intern","authors":"K. Paszkiewicz","doi":"10.3366/edinburgh/9781474425261.003.0007","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474425261.003.0007","url":null,"abstract":"This chapter focalises on Nancy Meyers, arguably the most successful woman filmmaker of all time. It shows how Meyers’s carefully composed mise-en-scène and the portrayal of privileged women protagonists contribute to a critical alignment between the director and her films, and at the same time how they are used to demonstrate Meyers’s lack of credibility as an auteur (a reading strategy which often impacts other women directors, such as Sofia Coppola, as analysed in Ch. 5). This analysis is framed within the broader discussions of auteurism, the generic conventions of the romcom and the so-called feminisation of mass culture (Husseyn 1986, Hollows 2005), as well as the cultural, critical and industrial gendering of genres. The remainder of the chapter offers an examination of The Intern (2015). The film has been dubbed as ‘a romantic comedy without the romance’, and it indeed draws on several of its generic conventions: romance’s narrative stages, the presence of the ‘wrong partner’, the sense of ‘belonging together’, and bromantic elements which allow for a rethinking of the gendering of genres. The detailed analysis of the film reveals Meyers’s self-reflexive strategies – rich discursive histories engendered by the presence of stars Robert De Niro and Anne Hathaway, among others – that invoke issues of central importance in this book: the question of female authorship in a male-dominated film industry, and the heritage and evolution of genre in the Hollywood context.","PeriodicalId":105961,"journal":{"name":"Genre, Authorship and Contemporary Women Filmmakers","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127840376","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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Genre in the Margins: Kelly Reichardt’s Meek’s Cutoff 边缘类型:Kelly Reichardt的《Meek’s cut》

Genre, Authorship and Contemporary Women Filmmakers Pub Date : 2018-07-01 DOI: 10.3366/EDINBURGH/9781474425261.003.0005

K. Paszkiewicz

{"title":"Genre in the Margins: Kelly Reichardt’s Meek’s Cutoff","authors":"K. Paszkiewicz","doi":"10.3366/EDINBURGH/9781474425261.003.0005","DOIUrl":"https://doi.org/10.3366/EDINBURGH/9781474425261.003.0005","url":null,"abstract":"In view of the historical co-implication of popular genres and the Hollywood film industry, it might be expected that the latter should be at the vanguard of women’s genre filmmaking. Yet women directors who draw on genre cinema might, in fact, be proportionally more numerous in American independent cinema. One such director who builds in various ways on popular genres (in particular, the Western and the road movie) is Kelly Reichardt. This chapter asks, thus, what it means for a woman to use a popular genre in an independent filmmaking context. It shows how Reichardt’s authorship and biographical legend are constructed in close relation to the processes of legitimisation of independent cinema, conceptualised discursively in opposition to Hollywood (and genre). The second part of the chapter focuses specifically on Meek’s Cutoff (2010) – a Western film which was incorporated into the auteurist discourse of resistance towards genre and exceptional individual achievement. It will be argued that, while Meek’s Cutoff seems to be diametrically opposed to genre cinema, since it offers a radical revision of the Western genre conventions, it also draws on the productive potential of generic logic based on variation within reiteration (Neale 1980).","PeriodicalId":105961,"journal":{"name":"Genre, Authorship and Contemporary Women Filmmakers","volume":"150 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126619746","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0