LEADER 03960nam 22006851 450 001 9910151561403321 005 20200514202323.0 010 $a9781501396519 010 $a9781623562922 010 $a9781623566265 024 7 $a10.5040/9781501396519 035 $a(CKB)3710000000951992 035 $a(MiAaPQ)EBC4744167 035 $a(OCoLC)961388497 035 $a(UtOrBLW)bpp09260502 035 $a(UtOrBLW)BP9781501396519BC 035 $a(EXLCZ)993710000000951992 100 $a20170227d2017 uy 0 101 0 $aeng 135 $aurcnu|||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 14$aThe body and the screen $efemale subjectivity in contemporary women's cinema /$fKate Ince 210 1$aNew York ;$aLondon :$cBloomsbury Academic,$d2017. 215 $a1 online resource (209 pages) $cillustrations 225 1 $aThinking cinema 320 $aIncludes bibliographical references, filmography and index. 320 $aIncludes filmography. 327 $aFemale subjectivity in philosophy and theory -- Feminist film studies and women's cinema after psychoanalysis -- Body -- Look -- Speech -- Performance -- Desire -- Freedom -- Conclusion. 330 $a"Since the 1980s the number of women regularly directing films has increased significantly in most Western countries; in France, Claire Denis and Catherine Breillat have joined Agne?s Varda in gaining international renown, while British directors Lynne Ramsay and Andrea Arnold have forged award-winning careers in feature film. This new volume in the "Thinking Cinema" series draws on feminist philosophers and theorists from Simone de Beauvoir on to offer readings of a range of the most important and memorable of these films from the 1990s and 2000s, focusing as it does so on how the films convey women's lives and identities. Mainstream entertainment cinema traditionally distorts the representation of women, objectifying their bodies, minimizing their agency, and avoiding the most important questions about how cinema can "do justice" to female subjectivity. Kate Ince suggests that the films of independent women directors are progressively redressing the balance, reinvigorating both the narratives and the formal ambitions of European cinema. Ince uses feminist philosophers to interpret such films as Sex Is Comedy, Morvern Callar, White Material, and Fish Tank anew, suggesting that a philosophical understanding of female subjectivity as embodied and ethical should underpin future feminist film study."--Bloomsbury Publishing. 410 0$aThinking cinema. 606 $aFeminism and motion pictures$zFrance 606 $aFeminism and motion pictures$zGreat Britain 606 $aFeminist films$zFrance$xHistory and criticism 606 $aFeminist films$zGreat Britain$xHistory and criticism 606 $aMotion pictures$zFrance$xHistory and criticism 606 $aMotion pictures$zGreat Britain$xHistory and criticism 606 $aWomen in motion pictures 606 $aWomen motion picture producers and directors$zFrance 606 $aWomen motion picture producers and directors$zGreat Britain 606 $2Individual film directors, film-makers 615 0$aFeminism and motion pictures 615 0$aFeminism and motion pictures 615 0$aFeminist films$xHistory and criticism. 615 0$aFeminist films$xHistory and criticism. 615 0$aMotion pictures$xHistory and criticism. 615 0$aMotion pictures$xHistory and criticism. 615 0$aWomen in motion pictures. 615 0$aWomen motion picture producers and directors 615 0$aWomen motion picture producers and directors 676 $a791.43/6522 700 $aInce$b Kate$01075622 801 0$bUtOrBLW 801 1$bUtOrBLW 801 2$bUkLoBP 906 $aBOOK 912 $a9910151561403321 996 $aThe body and the screen$92962844 997 $aUNINA