Patricia White – författare

In Women’s Cinema, World Cinema, Patricia White explores the dynamic intersection of feminism and film in the twenty-first century by highlighting the work of a new generation of women directors from around the world:  Samira and Hana Makhmalbaf, Nadine Labaki, Zero Chou, Jasmila Zbanic, and Claudia Llosa, among others. The emergence of a globalized network of film festivals has enabled these young directors to make and circulate films that are changing the aesthetics and politics of art house cinema and challenging feminist genealogies. Extending formal analysis to the production and reception contexts of a variety of feature films, White explores how women filmmakers are both implicated in and critique gendered concepts of authorship, taste, genre, national identity, and human rights. Women’s Cinema, World Cinema revitalizes feminist film studies as it argues for an alternative vision of global media culture.

The changing face of feminist discourse as reflected by the career of one of its preeminent scholarsFigures of Resistance brings together the unpublished lectures and little-seen essays of internationally renowned theorist Teresa de Lauretis, spanning over twenty years of her finest work. Thirty years after the height of feminist theory, this collection invites us to reflect on the history of feminism and take a hard look at where it stands today. Selected essays include "Sexual Indifference and Lesbian Representation," "The Lure of the Mannish Lesbian," "Eccentric Subjects," "Habit Changes," "The Intractability of Desire," and the unpublished article "Figures of Resistance." An introduction from feminist film scholar Patricia White provides an overview of the development of de Lauretis's thought and of feminist theory over past decades.

"White writes with considerable flair, and her arguments are always interesting . . ." —Choice"Uncovering a massive trove of what she calls 'lesbian representability'—images of lesbian desire, love and life—in mainstream movies, White provides an insightful look at classic American films. . . . her myriad examples and finely wrought arguments prove both convincing and engaging." —Publishers Weekly"Conspiratorial and witty, Uninvited is a mischievous invitation to dissect classical cinema by someone who wields the razor with glee." —OUT MagazineLesbian characters, stories, and images were barred from onscreen depiction in Hollywood films from the 1930s to the 1960s, together with all forms of "sex perversion." Looking at the lure of some of the great female stars and at the visual coding of supporting actresses, the book identifies lesbian spectatorial strategies.

This collection of essays by philosophers and educationalists of international reputation, all published here for the first time, celebrates Paul Hirst's professional career. The introductory essay by Robin Barrow and Patricia White outlines Paul Hirst's career and maps the shifts in his thought about education, showing how his views on teacher education, the curriculum and educational aims are interrelated. Contributions from leading names in British and American philosophy of education cover themes ranging from the nature of good teaching to Wittgensteinian aesthetics. The collection concludes with a paper in which Paul Hirst sets out his latest views on the nature of education and its aims. The book also includes a complete bibliography of works by Hirst and a substantial set of references to his writing.

In the last forty years philosophy of education has become established as a distinct area of philosophical study concerned within educational thought and practice. Twentieth century analytic philosophy prompted the emergence of a philosophy of education as a separate subject.The work collected here represents the major ideas and arguments which have come to characterise philosophy of education. This comprehensive set includes work from the perspectives of Marxism, phenomenology, feminist theory, critical theory and others. The individual volumes cover:* philosophy and education* education and human being* society and education* problems of educational content and practice.The featured articles map the most important writings within the analytic and intersecting traditions, and the set presents an influential and essential body of work for researchers in the philosophy of education, the field of educational studies and educationally-oriented policy studies.

This volume introduces a new conception of political education and new roles for headteachers and parents in the creation of a more democratic educational system. The book proposes curbing the power of teachers, including headteachers, stripping parents of their rights, and making political education the keystone of education. It considers what kind of educational strategies would be appropriate to help move a society like our own towards greater democracy, in the light of a co-ordinated set of proposals about the democratic organization of political decision-making, and the development of democratic attitudes, notably fraternity. All this is underpinned by a radical analysis of basic democratic principles and assumptions, and a fundamental critique of the power-sharing machinery of such contemporary democratic societies as the UK and USA.

This volume introduces a new conception of political education and new roles for headteachers and parents in the creation of a more democratic educational system. The book proposes curbing the power of teachers, including headteachers, stripping parents of their rights, and making political education the keystone of education. It considers what kind of educational strategies would be appropriate to help move a society like our own towards greater democracy, in the light of a co-ordinated set of proposals about the democratic organization of political decision-making, and the development of democratic attitudes, notably fraternity. All this is underpinned by a radical analysis of basic democratic principles and assumptions, and a fundamental critique of the power-sharing machinery of such contemporary democratic societies as the UK and USA.

In Women’s Cinema, World Cinema, Patricia White explores the dynamic intersection of feminism and film in the twenty-first century by highlighting the work of a new generation of women directors from around the world:  Samira and Hana Makhmalbaf, Nadine Labaki, Zero Chou, Jasmila Zbanic, and Claudia Llosa, among others. The emergence of a globalized network of film festivals has enabled these young directors to make and circulate films that are changing the aesthetics and politics of art house cinema and challenging feminist genealogies. Extending formal analysis to the production and reception contexts of a variety of feature films, White explores how women filmmakers are both implicated in and critique gendered concepts of authorship, taste, genre, national identity, and human rights. Women’s Cinema, World Cinema revitalizes feminist film studies as it argues for an alternative vision of global media culture.

The Film Experience offers a comprehensive introduction to the art, language, industry, culture, and experience of the movies -with new digital tools to bring that experience to life and help students master course material.

The milestone 100th issue of Camera Obscura recognizes the work and legacy of Belgian filmmaker Chantal Akerman (1950–2015). Arguably the most important figure in feminist film culture, Akerman is central to Camera Obscura's own legacy, and her film Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles was covered in one of the first issues of the journal. The contributors to this special issue return to Akerman's work, illuminating her films, writings, and installations through new criticism and discussion. The issue includes a rich collection of newly published photographs, scholarly essays by leading Akerman scholars, a filmography and installation list, and rare interviews with Akerman's close collaborators.Contributors. Claire Atherton, Janet Bergstrom, Kelley Conway, Sandy Flitterman-Lewis, Ute Holl, Heike Klippel, Eva Kuhn, Matias Lavin, Alisa Lebow, Brenda Longfellow, Babette Mangolte, Ivone Margulies, Michael MaziÈre, Eva Meyer, Sandra Percival, Jane Stein, CÉcile Tourneur, Maureen Turim, Sonia Wieder-Atherton, Patricia White

The 1940 film adaptation of Daphne du Maurier’s gothic romance Rebecca begins by echoing the novel’s famous opening line, ‘Last night I dreamt I went to Manderley again.’ Patricia White takes the theme of return as her starting point for an exploration of the film’s enduring power. Drawing on archival research, she shows how the production and reception history of Rebecca, the first fruit of the collaboration between Hollywood movie producer David O. Selznick and British director Alfred Hitchcock, is marked by the traces of women’s contributions. White provides a rich analysis of the film, addressing the gap between perception and reality that is constantly in play in the gothic romance, and highlighting the queer erotics circulating around ‘I’ (the heroine), Mrs Danvers, and the dead but ever-present Rebecca. Her discussion of the film’s afterlives emphasizes the lasting aesthetic impact of this dark masterpiece of memory and desire, while her attention to its remakes and sequels speaks to the ongoing relevance of its vision of gender and power.