Boel Ulfsdotter is Reader in Film Studies at the Faculty of Humanities at Gothenburg University, Sweden. Her areas of research are rooted in theoretical perspectives on female subjectivity in visual and popular culture, with special focus on documentary cinema, visual style, and screen costume. She has also published on contemporary women’s power dressing, fashion exhibition practice, and screen costume. Boel Ulfsdotter’s latest scholarly publication is Documenting Fashion (2023), co-edited with Elena Caoduro. In 2018, Ulfsdotter co-edited a twin-volume on the topic of female authorship for Edinburgh University Press: Female Authorship and the Documentary Image, and Female Agency and Documentary Strategies.

• List of figuresAcknowledgementsIntroductionPart I. Prostitution and Polygamy: Two close-ups of patriarchy1. Not Accented Cinema: Prostitution Behind the Veil (2004)2. Hegemonic Patriarchy and polygamy: Four Wives, One Man (2007)Conclusion Part IPart II. New narrative and formal interventions3. Auteurism in Accented Cinema mode: The Queen and I (2008)4. First signs of collective authorship: My Stolen Revolution (2013)Conclusion Part TwoPart III. Authorial divestiture in the 21st century5. Expanding her documentary apparatus: Be My Voice (2021)6. Polyvocal political activism as matrix for the liquid documentary: Son of a Mullah (2023)Conclusion Part ThreeSumming UpReferencesFilmographiesIndex

Boel Ulfsdotter is Reader in Film Studies at the Faculty of Humanities at Gothenburg University, Sweden. Her areas of research are rooted in theoretical perspectives on female subjectivity in visual and popular culture, with special focus on documentary cinema, visual style, and screen costume. She has also published on contemporary women’s power dressing, fashion exhibition practice, and screen costume. Boel Ulfsdotter’s latest scholarly publication is Documenting Fashion (2023), co-edited with Elena Caoduro. In 2018, Ulfsdotter co-edited a twin-volume on the topic of female authorship for Edinburgh University Press: Female Authorship and the Documentary Image, and Female Agency and Documentary Strategies.

• List of figuresAcknowledgementsIntroductionPart I. Prostitution and Polygamy: Two close-ups of patriarchy1. Not Accented Cinema: Prostitution Behind the Veil (2004)2. Hegemonic Patriarchy and polygamy: Four Wives, One Man (2007)Conclusion Part IPart II. New narrative and formal interventions3. Auteurism in Accented Cinema mode: The Queen and I (2008)4. First signs of collective authorship: My Stolen Revolution (2013)Conclusion Part TwoPart III. Authorial divestiture in the 21st century5. Expanding her documentary apparatus: Be My Voice (2021)6. Polyvocal political activism as matrix for the liquid documentary: Son of a Mullah (2023)Conclusion Part ThreeSumming UpReferencesFilmographiesIndex

Boel Ulfsdotter is Reader in Film Studies at the Faculty of Humanities at Gothenburg University, Sweden. Her areas of research are rooted in theoretical perspectives on female subjectivity in visual and popular culture, with special focus on documentary cinema, visual style, and screen costume. She has also published on contemporary women’s power dressing, fashion exhibition practice, and screen costume. Boel Ulfsdotter’s latest scholarly publication is Documenting Fashion (2023), co-edited with Elena Caoduro. In 2018, Ulfsdotter co-edited a twin-volume on the topic of female authorship for Edinburgh University Press: Female Authorship and the Documentary Image, and Female Agency and Documentary Strategies.

• List of figuresAcknowledgementsIntroductionPart I. Prostitution and Polygamy: Two close-ups of patriarchy1. Not Accented Cinema: Prostitution Behind the Veil (2004)2. Hegemonic Patriarchy and polygamy: Four Wives, One Man (2007)Conclusion Part IPart II. New narrative and formal interventions3. Auteurism in Accented Cinema mode: The Queen and I (2008)4. First signs of collective authorship: My Stolen Revolution (2013)Conclusion Part TwoPart III. Authorial divestiture in the 21st century5. Expanding her documentary apparatus: Be My Voice (2021)6. Polyvocal political activism as matrix for the liquid documentary: Son of a Mullah (2023)Conclusion Part ThreeSumming UpReferencesFilmographiesIndex