Gendered frames, embodied cameras : Varda, Akerman, Cabrera, Calle, and Maïwenn /

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Using the framework of self-representation, this book rethinks problems of representation of the female body in French cinema and contemporary French culture. By filming themselves, these filmmakers visually claim their roles, establish their authority in the field, and expose new ways to configure...

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Detalles Bibliográficos
Clasificación:Libro Electrónico
Autor principal: McFadden, Cybelle H., 1975-
Formato: Electrónico eBook
Idioma:Inglés
Publicado: Madison : Fairleigh Dickinson University Press, [2014]
Temas:
Varda, Agnès, > 1928-2019 > Criticism and interpretation.
Akerman, Chantal > Criticism and interpretation.
Cabrera, Dominique, > 1957- > Criticism and interpretation.
Calle, Sophie > Criticism and interpretation.
Maïwenn, > 1976- > Criticism and interpretation.
Akerman, Chantal
Cabrera, Dominique, > 1957-
Calle, Sophie
Maïwenn, > 1976-
Varda, Agnès, > 1928-2019
Human body in motion pictures.
Sex role in motion pictures.
Motion pictures > France.
Corps humain au cinéma.
Rôle selon le sexe au cinéma.
Cinéma > France.
PERFORMING ARTS > Reference.
Human body in motion pictures
Motion pictures
Sex role in motion pictures
France
Criticism, interpretation, etc.
Acceso en línea:Texto completo
Tabla de Contenidos:
  • Introduction: Gendered frames, embodied cameras in contemporary French cinema (1987-2009)
  • Section 1. Self-authorization through self-representation
  • Reflected reflexivity: Agnès Varda's aging female body
  • Enacted reflexivity: Chantal Akerman par Chantal Akerman
  • Hybrid reflexivity: Dominique Cabrera's half-body, half-camera
  • Section 2. Self-construction through faux narratives
  • Orchestrated reflexivity: Sophie Calle's narrative body as artist
  • Faux reflexivity: Maïwenn's camera and the female body
  • Conclusion: Reflections on gendered frames, embodied cameras.

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