Julia Knight - Böcker

Research into and around women's participation in cinematic history has enjoyed dynamic growth over the past decade. A broadening of scope and interests encompasses not only different kinds of filmmaking--mainstream fiction, experimental, and documentary--but also practices--publicity, journalism, distribution and exhibition--seldom explored in the past. Cutting-edge and inclusive, Doing Women's Film History ventures into topics in the United States and Europe while also moving beyond to explore the influence of women on the cinemas of India, Chile, Turkey, Russia, and Australia. Contributors grapple with historiographic questions that cover film history from the pioneering era to the present day. Yet the writers also address the very mission of practicing scholarship. Essays explore essential issues like identifying women's participation in their cinema cultures, locating previously unconsidered sources of evidence, developing methodologies and analytical concepts to reveal the impact of gender on film production, distribution and reception, and reframing film history to accommodate new questions and approaches. Contributors include: Kay Armatage, Eylem Atakav, Karina Aveyard, Canan Balan, Cécile Chich, Monica Dall'Asta, Eliza Anna Delveroudi, Jane M. Gaines, Christine Gledhill, Julia Knight, Neepa Majumdar, Michele Leigh, Luke McKernan, Debashree Mukherjee, Giuliana Muscio, Katarzyna Paszkiewicz, Rashmi Sawhney, Elizabeth Ramirez Soto, Sarah Street, and Kimberly Tomadjoglou.

Research into and around women's participation in cinematic history has enjoyed dynamic growth over the past decade. A broadening of scope and interests encompasses not only different kinds of filmmaking--mainstream fiction, experimental, and documentary--but also practices--publicity, journalism, distribution and exhibition--seldom explored in the past. Cutting-edge and inclusive, Doing Women's Film History ventures into topics in the United States and Europe while also moving beyond to explore the influence of women on the cinemas of India, Chile, Turkey, Russia, and Australia. Contributors grapple with historiographic questions that cover film history from the pioneering era to the present day. Yet the writers also address the very mission of practicing scholarship. Essays explore essential issues like identifying women's participation in their cinema cultures, locating previously unconsidered sources of evidence, developing methodologies and analytical concepts to reveal the impact of gender on film production, distribution and reception, and reframing film history to accommodate new questions and approaches. Contributors include: Kay Armatage, Eylem Atakav, Karina Aveyard, Canan Balan, Cécile Chich, Monica Dall'Asta, Eliza Anna Delveroudi, Jane M. Gaines, Christine Gledhill, Julia Knight, Neepa Majumdar, Michele Leigh, Luke McKernan, Debashree Mukherjee, Giuliana Muscio, Katarzyna Paszkiewicz, Rashmi Sawhney, Elizabeth Ramirez Soto, Sarah Street, and Kimberly Tomadjoglou.

TWO SIBLINGS. OUTCASTS FOR LIFE - TOGETHER. IT CAN ONLY MEAN TROUBLE.Vocho and Kacha are champion duellists: a brother and sister known for the finest swordplay in the city of Reyes. Or at least they used to be - until they were thrown out of the Duellist's Guild. Now all that's left to them is to become reluctant highwaymen. But when they pick the wrong carriage to rob, their simple plans to win back fame and fortune go south fast. After barely besting a powerful magician, Vocho and Kacha make off with an immense locked chest. But the contents will bring them more than they've bargained for, when they soon find themselves embroiled in a dangerous plot to return an angry king to power . . .Swords and Scoundrels is the first book in the Duellists Trilogy - a tale of death, magic, and the perils of family loyalty.*All three books in the series available in 3 months, from October to December 2015*'Roguish highwaymen and all the intrigue of a bloody revolution . . . will keep you guessing till the end!' Anne Lyle

Vocho and Kacha are brother and sister, and between them they've got quite a reputation. They were once known for the finest swordplay in the city of Reyes. The only problem is, ever since they were thrown out of the Duellist's Guild for accidentally killing a man they were sworn to protect, it seems everyone wants them dead. Including a dark magician whose plans they recently scuppered . . . Now Vocho and Kacha are in the midst of an uneasy truce, not sure whether to trust each other, or anyone else for that matter. What's more, the sinister magician is rumoured to have returned. Now he knows who was behind the failure of his last plan, he's determined to put a stop to Vocho and Kacha permanently.And this time, the flash of steel may not be enough to save them.

Vocho and Kacha may be known for the finest swordplay in the city of Reyes, but they've found themselves backed into a corner too often for their liking.Finally reinstated into the Duellists guild for services rendered to the prelate, who has found himself back in charge, Vocho and Kacha are tasked with bring a prisoner to justice. But this prisoner is none other than Kacha's old flame Egimont. The prelate wants him alive, and on their side. However the more they discover of Egimont and his dark dealings with the magician, the more Kacha's loyalties are divided. Soon she must choose a side - the prelate or the king, her brother or her ex-lover.The fate of Reyes is balanced on a knife-edge . . .

There were virtually no women film directors in Germany until the 1970s. Today there are proportionally more than in any other film-making country, and their work has been extremely influential. Directors like Margarethe von Trotta, Helma Sanders-Brahms, Ulrike Ottinger and Helke Sander have made a huge contribution to feminist film culture, but until now critical consideration of New German Cinema in Britain and the United States has focused almost exclusively on male directors such as Rainer Werner Fassbinder and Wim Wenders.In Women and the New German Cinema Julia Knight examines how restrictive social, economic and institutional conditions have compounded the neglect of the new women directors. Rejecting the traditional auteur approach, she explores the principal characteristics of women's film-making in the 1970s and 1980s, in particular the role of the women's movement, the concern with the notion of a 'feminine aesthetic', women's entry into the mainstream, and the emergence of a so-called post-feminist cinema.This timely and comprehensive study will be essential reading for everyone concerned with contemporary cinema and feminism.