Titlebook: And the Mirror Cracked; Feminist Cinema and Anneke Smelik Book 1998 Palgrave Macmillan, a division of Macmillan Publishers Limited 1998 ci

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What Meets the Eye: An Overview of Feminist Film Theory,eproduced, and represented. The stakes of feminist film theory are therefore high. In the early years of feminist film theory Laura Mulvey wrote that women would be better off discarding patriarchal cinema altogether. Women would welcome the destruction of ‘the satisfaction, pleasure and privilege’

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And the Mirror Cracked: On Metaphors Of Violence And Resistance,y bound up with dominant cinema. As I pointed out earlier, Mulvey (1989/1975) was the first to unravel Hollywood’s investment in voyeuristic structures that couple eroticism to sadism. Many other feminist critics have further elaborated on cinematic violence directed at the female body.. It is under

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The Navel of the Film: On the Abject and the Masquerade,l standards. To paraphrase Sigmund Freud, it is the navel of a film, ‘the spot where it reaches down into the unknown’; a tangle that resists interpretation and ‘which cannot be unravelled’ (., V: 525). It is precisely the unknown that Dorothée, the protagonist of ., wants to explore: in the opening

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nist directors create alternative film forms, Anneke Smelik highlights cinematic issues which are central to feminist films: authorship, point of view, metaphor, montage and the excessive image. In a continuous mirror game between theory and cinema, this study explains how these cinematic techniques

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Drought and Water Scarcity in the UKs that couple eroticism to sadism. Many other feminist critics have further elaborated on cinematic violence directed at the female body.. It is understood that a critical analysis of violence against women can yield insight into the sources of misogyny in masculinist society.