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And the Mirror Cracked: Feminist Cinema and Film Theory by Anneke Smelik

By Anneke Smelik

And The reflect Cracked explores the politics and pleasures of up to date feminist cinema. Tracing the effective ways that feminist administrators create substitute movie types, Anneke Smelik highlights cinematic concerns that are valuable to feminist movies: authorship, perspective, metaphor, montage, and the over the top photo. In a continual reflect video game among conception and cinema, this learn explains how those cinematic recommendations are used to symbolize lady subjectivity absolutely 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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I will now apply this scheme to my reading of The Subjective Factor, a feminist film that leads into the heart of the matter: the representation of female subjectivity in women's cinema. Page 33 Subjective Factors In The Subjective Factor filmmaker Helke Sander narrates the rise of the Women's Movement in West Germany at the end of the 1960s. The most important feature of the film is its breakdown of traditional genre distinctions: within a fictional narrative about main character Anni who lives in a particular time (1967–70) and in a particular place (Berlin), Sander has included many documentary images such as pictures, pamphlets, posters, newspapers, newsreel and film footage of those years.

I will now apply this scheme to my reading of The Subjective Factor, a feminist film that leads into the heart of the matter: the representation of female subjectivity in women's cinema. Page 33 Subjective Factors In The Subjective Factor filmmaker Helke Sander narrates the rise of the Women's Movement in West Germany at the end of the 1960s. The most important feature of the film is its breakdown of traditional genre distinctions: within a fictional narrative about main character Anni who lives in a particular time (1967–70) and in a particular place (Berlin), Sander has included many documentary images such as pictures, pamphlets, posters, newspapers, newsreel and film footage of those years.

Second, Page 36 it portrays the feminist challenge to this Marxist premise in the name of a collective subject that has historically been unrepresented, thus raising the issue whether women form a 'class'. Third, it points to history as the promise of the future, giving a glimpse of a utopian belief, of a tomorrow that allows women to postulate a new subject: the female, feminist subject. At the same time, the intricate temporality of the film makes the spectator aware of what has become of that utopian hope some thirteen years later, the year the film was made.

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