Shelley Cobb – författare

Screening Women Filmmakers is an essential collection of 58 essays, each focusing on a single film directed by a woman-identified filmmaker, inclusively defined, from the earliest days of filmmaking (1896) to the present day, and from countries and regions around the globe.This volume offers students and scholars an inclusive survey of woman-made cinema through diverse critical-theoretical frameworks and methodologies. Each chapter examines the aesthetic, cultural, and political dimensions of its featured film, drawing upon the multifaceted perspectives and positionalities of both filmmakers and authors. The collection's global and historical scope—from early cinema to contemporary works—provides readers with a substantive understanding of the vibrancy and versatility of women's filmmaking across different contexts and movements. As part of the Screening Cinema series, it is specifically designed as a pedagogical resource with films selected for their accessibility and suitability for classroom screening and discussion.This book is essential reading for students and instructors in film studies, gender studies, and women's studies courses where film screenings are central to learning. It will appeal to scholars of feminist film studies and women's film history, as well as general readers interested in women's achievements behind the camera throughout cinema's past and present.

Screening Women Filmmakers is an essential collection of 58 essays, each focusing on a single film directed by a woman-identified filmmaker, inclusively defined, from the earliest days of filmmaking (1896) to the present day, and from countries and regions around the globe.This volume offers students and scholars an inclusive survey of woman-made cinema through diverse critical-theoretical frameworks and methodologies. Each chapter examines the aesthetic, cultural, and political dimensions of its featured film, drawing upon the multifaceted perspectives and positionalities of both filmmakers and authors. The collection's global and historical scope—from early cinema to contemporary works—provides readers with a substantive understanding of the vibrancy and versatility of women's filmmaking across different contexts and movements. As part of the Screening Cinema series, it is specifically designed as a pedagogical resource with films selected for their accessibility and suitability for classroom screening and discussion.This book is essential reading for students and instructors in film studies, gender studies, and women's studies courses where film screenings are central to learning. It will appeal to scholars of feminist film studies and women's film history, as well as general readers interested in women's achievements behind the camera throughout cinema's past and present.

With the prominence of one-name couples (Brangelina, Kimye) and famous families (the Smiths, the Beckhams), it is becoming increasingly clear that celebrity is no longer an individual pursuit-if it ever was. Accordingly, First Comes Love explores celebrity kinship and the phenomenon of the power couple: those relationships where two stars come together and where their individual identities as celebrities become inseparable from their status as a famous twosome. Taken together, the chapters in this volume interrogate the ways these alliances are bound up in wider cultural debates about marriage, love, intimacy, family, parenthood, sexuality, and gender, in their particular historical contexts, from the 1920s to the present day. Interdisciplinary in scope, First Comes Love seeks to establish how celebrity relationships play particular roles in dramatizing, disrupting, and reconciling often-contradictory ideas about coupledom and kinship formations.

With the prominence of one-name couples (Brangelina, Kimye) and famous families (the Smiths, the Beckhams), it is becoming increasingly clear that celebrity is no longer an individual pursuit-if it ever was. Accordingly, First Comes Love explores celebrity kinship and the phenomenon of the power couple: those relationships where two stars come together and where their individual identities as celebrities become inseparable from their status as a famous twosome. Taken together, the chapters in this volume interrogate the ways these alliances are bound up in wider cultural debates about marriage, love, intimacy, family, parenthood, sexuality, and gender, in their particular historical contexts, from the 1920s to the present day. Interdisciplinary in scope, First Comes Love seeks to establish how celebrity relationships play particular roles in dramatizing, disrupting, and reconciling often-contradictory ideas about coupledom and kinship formations.

With the prominence of one-name couples (Brangelina, Kimye) and famous families (the Smiths, the Beckhams), it is becoming increasingly clear that celebrity is no longer an individual pursuit—if it ever was. Accordingly, First Comes Love explores celebrity kinship and the phenomenon of the power couple: those relationships where two stars come together and where their individual identities as celebrities become inseparable from their status as a famous twosome. Taken together, the chapters in this volume interrogate the ways these alliances are bound up in wider cultural debates about marriage, love, intimacy, family, parenthood, sexuality, and gender, in their particular historical contexts, from the 1920s to the present day. Interdisciplinary in scope, First Comes Love seeks to establish how celebrity relationships play particular roles in dramatizing, disrupting, and reconciling often-contradictory ideas about coupledom and kinship formations.