On Women's Films

Ivone Margulies is Professor in the Film and Media Studies Department at Hunter College, CUNY, USA. She is the author of In Person: Reenactment in Postwar and Contemporary Cinema (2018), Nothing Happens: Chantal Akerman’s Hyperrealist Everyday (1996), and is the editor of Rites of Realism: Essays on Corporeal Cinema (2003). Jeremi Szaniawski is the co-editor of Directory of World Cinema: Belgium (2014) and The Global Auteur: The Politics of Authorship in 21st Century Cinema (2016) and the author of The Cinema of Alexander Sokurov: Figures of Paradox (2014).

This collection, which addresses an academic and specialized audience within a transdisciplinary framework of interests in women and gender studies, film and media studies, and cultural theory, will be a precious tool in curricular courses on women and film, gender embodiment, and queer representation in film. It is also an engaging, highly readable book that broadens the definition of women’s film through a wide selection of case studies and approaches.

• Introduction: On Women's Films: Moving Thought Across Worlds and Generations (Ivone Margulies, Hunter College, USA) and (Jeremi Szaniawski, University of Massachusetts Amherst, USA)Part I - Phrasing (in)Significance 1. Wanda’s Slowness: Enduring Insignificance(Elena Gorfinkel, King's College, London, UK)2. "And It's So Tiring": Chantal Akerman's Ruminative Economy(Ivone Margulies, Hunter College, USA)3. When to Speak and When to be Quiet: The Act of Waiting and the Lonliness of Bodies in Maria Ramos’s Films (Andréa França, Catholic University of Rio de Janeiro, Brazil)4: Social Realism, Melodrama and the Mute Text: Rakhshan Bani-Etemad’s The May Lady and Under the Skin of the City(Laura Mulvey, University of London Birbeck, UK)Part II - Collective Voice and Documentary Poetics5. Documentary Poetics as a Field of Action: Cecilia Mangini’s Essere donne(Noa Steimatsky, Sarah Lawrence College and NYU, USA)6. On Talking Heads and Las muertes chiquitas (Salomé Aguilera Skvirsky, University of Chicago, USA)7. Agnès Varda and Ydessa: Engaging Personal and Cultural Histories(Rebecca J. DeRoo, Rochester Institute of Technology, USA)8. Peace and Love, True and False: Agnès Varda in Los Angeles (Jean Ma, Stanford University, USA)Part III - Embodied Configurations: Material and Self-Inscription9. She Carries the Film on Her Naked Body: Environment and Embodied Debt in Claire Denis’s Bastards(Katrin Pesch, Wofford College, USA)10. Ornaments and Sites of Self-Suspension: Hito Steyerl's Multimedial Essayism(Nora Gortcheva, Independent Scholar, Germany)11. Female Material: Invisible Adversaries and the Intermedial (Jennifer Stob, Texas State University, USA)12. "Dedicated to the One I Love": Authorship and Adaptation in Lynne Ramsay's Morvern Callar(Michael Cramer, Sarah Lawrence College, USA)Part IV - Subjectivities Across Local, National and Neoliberal Logics13. She, A Chinese Director?: Xiaolu Guo and Transnational Feminist Authorship (Patricia White, Swarthmore College, USA)14. Floating Light and Shadows: Huang Yu-shan's Chronicles of Modern Taiwan(Zhen Zhang, New York University, USA)15. On Death and Dying: Malgorzata Szumowska Between Poland and Self(Izabela Kalinowska, SUNY Stony Brook University, USA)Part V - Women's Imaginaries, Same-sex Worlds16. Soft Fictions(Rebekah Rutkoff, New Jersey Institute of Technology, USA)17. Perverse Angle: Feminist Film, Queer Film, Shame(Liza Johnson, University of California, Los Angeles, USA)18. Thinking Like a Holy Girl: A Philosophy of Grandma's Bedroom(Karen Redrobe, University of Pennsylvania, USA)19. Once Upon Her Time?: The Cinema of Valérie Massadian, or, Living and Creating at the Periphery of Patriarchy(Jeremi Szaniawski, Independent Scholar, Belgium)List of ContributorsIndex