By Anneke Smelik
And The reflect Cracked explores the politics and pleasures of latest feminist cinema. Tracing the effective ways that feminist administrators create substitute movie varieties, Anneke Smelik highlights cinematic concerns that are primary to feminist motion pictures: authorship, perspective, metaphor, montage, and the over the top photograph. In a continual reflect video game among idea and cinema, this examine explains how those cinematic options are used to symbolize lady subjectivity definitely and affirmatively. one of the movies thought of are A query of Silence, Bagdad Café, and Sweetie and the Virgin Machine.
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Additional resources for And the Mirror Cracked: Feminist Cinema and Film Theory
Examples are Ulrike Ottinger's fascination with freaks, or Marguerite Duras' investment in the figure of the exile (215). Helke Sander's strategy is even more complex. In two other feature films, Die allseitig reduzierte Persönlichkeit — Redupers (The universally reduced personality — Redupers, 1977) and Der Beginn aller Schrecken ist Liebe — Eskalation (The beginning of each shock is love — escalation, 1984), Sander herself plays the main female character. By so openly collapsing the boundaries between director and character she challenges the traditional paradigm of surrogation.
The soundtrack, too, contains authentic material from that period: music, radio, lectures, happenings. Sander's film shares this characteristic of mixing genres, of combining fiction and documentary, with other feminist films (see Knight 1992). Contrary to classical cinema, the opening scene of The Subjective Factor does not introduce the rest of the film as a flashback, but introduces the complex issue of writing history, or better, filming her/story. Annette Förster (1982) stresses that Sander's mixture of fact and fiction in the opening sequence makes the viewer aware that the documentary images are not 'objective facts' but have a function within Anni's story, within her experience and her memory of the events.
First, as either an image or a voice; this is the cinematic equivalent to the first-person pronoun (Hitchcock's appearances in his own films are the best known example of this 'directional appearance'). Silverman argues that such an authorial subject can be constructed through identification: the image has to be claimed by the filmmaker who identifies it as a reflection of her or himself. However, appearances of the author in film are a cinematic construction that can undermine or idealize her or his authorial subjectivity.