Katarzyna Paszkiewicz – författare

Winner of first Prize in the BAFTSS Best Edited Collection competition, this volume examines how different generations of women work within the genericity of audio-visual storytelling not necessarily to ‘undo’ or ‘subvert’ popular formats, but also to draw on their generative force. Recent examples of filmmakers and creative practitioners within and outside Hollywood as well as women working in non-directing authorial roles remind us that women are in various ways authoring commercially and culturally impactful texts across a range of genres. Put simply, this volume asks: what do women who are creatively engaged with audio-visual industries do with genre and what does genre do with them? The contributors to the collection respond to this question from diverse perspectives and with different answers, spanning issues of direction, screenwriting, performance and audience address/reception.

Cinema of/for the Anthropocene sheds new light on the question of how films can allow us to resituate ourselves within what is known today as the Anthropocene. The authors address this question through a variety of disciplines and theoretical perspectives, from film and cultural studies, new materialisms, critical posthumanism and animal studies, critical race theory and Indigenous media studies, to gender and sexuality studies, with a primary focus on films produced in the United States and Canada.The volume moves beyond the mere acknowledgment of the devastating damage inflicted during the Anthropocene to think about new ways of inhabiting the world through concepts such as affect, response-ability, and more-than-human kinship. The writers in this collection respond to its invitation by addressing a range of genres and modes, thus complicating the apocalyptic discourses which have typically been central to the studies on the Anthropocene: in addition to dystopian films, the volume discusses animated films, Hollywood biopics, climate change documentaries, experimental film, comedy, horror sci-fi, as well as disease thriller and survival film. Taken together, the chapters offer cross-disciplinary readings of the cinema of/for the Anthropocene, showing ways in which it can help us re-orient our thinking to make sense of the current age and address the planetary-scale environmental catastrophe.This volume will appeal to researchers and students in film studies, cultural studies, and the burgeoning field of environmental humanities.

Winner of first Prize in the BAFTSS Best Edited Collection competition, this volume examines how different generations of women work within the genericity of audio-visual storytelling not necessarily to ‘undo’ or ‘subvert’ popular formats, but also to draw on their generative force. Recent examples of filmmakers and creative practitioners within and outside Hollywood as well as women working in non-directing authorial roles remind us that women are in various ways authoring commercially and culturally impactful texts across a range of genres. Put simply, this volume asks: what do women who are creatively engaged with audio-visual industries do with genre and what does genre do with them? The contributors to the collection respond to this question from diverse perspectives and with different answers, spanning issues of direction, screenwriting, performance and audience address/reception.

This book focuses specifically on the contribution made by American female filmmakers to popular genre film. It asks: what do women who are engaged creatively with film industries do with genre and what does genre do with them? Through analysis of the films themselves, their reception and the industrial and cultural contexts in which these films were released, the book challenges traditional concepts of film authorship and male/female genre divisions, as well as re-evaluating certain genres as a space worthy of feminist criticism, such as horror cinema, the Western, war film and romantic comedy. It argues that women work within the genericity of audiovisual storytelling not only to "undo" or "subvert" popular formats, but also to draw creatively on their generative force.

Examining the significance of women’s work in popular film genres, Genre, Authorship and Contemporary Women Filmmakers sheds light on women’s contribution to genre cinema through an exploration of filmmakers like Kathryn Bigelow, Diablo Cody, Sofia Coppola and Kelly Reichard. Exploring genres as diverse as horror, the war movie, the Western, the costume biopic and the romantic comedy, the book interrogates questions of authorial subversion, gendered concepts of film authorship and male/female genre divisions, as well as re-evaluating certain genres as a space worthy of feminist criticism. By offering an analysis of the films themselves and the circumstances of production and reception, this book redefines political, theoretical and commercial conceptualisations of women’s cinema, and offers new perspectives on how women filmmakers explore the aesthetic and imaginative power of genre.

This volume examines contemporary reformulations of the ‘Final Girl’ in film, TV, literature and comic, expanding the discussion of the trope beyond the slasher subgenre. Clover’s term of thirty years ago and how does this term continue to inform our understanding of popular culture?