دانلود کتاب Women Artists, Feminism and the Moving Image: Contexts and Practices

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Cover page
Title page
Halftitle page
Copyright page
Epigraph page
Contents
List of figures
Contributors
Preface
Acknowledgements
Introduction: Raising voices
Who speaks?
Inflections, enunciations
Knowing where to look
A collection of voices
Who speaks for whom?
Notes
Lis Rhodes – Certain measures
Note
Part One Acknowledgements
In conversation: MORE – Pauline Boudry/Renate Lorenz with Irene Revell
1 Elinor Cleghorn – In a tiny realm of her own: Lotte Reiniger’s light work
Notes
2 Catherine Grant – Returning to Riddles
A theory film
Opening pages
Laura speaking/Laura listening
Her friendship with Maxine has intervened
And, in her mind, she flung herself through the air
Mulvey’s Manifesto
Acknowledgements
Notes
3 So Mayer – ‘Being a together woman is a bitch’: An ‘African American woman’s film’ genealogy of Julie Dash’s Four Women (1975)
Acknowledgements
Notes
4 Lucia Aspesi – Film Esperienza. The work of Marinella Pirelli
Invisibility
The centrality of the human body
Light and movement
Notes
5 Rachel Garfield – Prescient intersectionality: Women, moving image and identity politics in 1980s Britain
Notes
Part Two Negotiations and Engagements
In conversation: Maria Palacios Cruz interviews Basma Alsharif
Addendum
Notes
6 Maud Jacquin – ‘Overexposed, like an X-ray’: The politics of corporeal vulnerability in Sandra Lahire’s experimental cinema
Notes
7 Erika Balsom – ‘Look at Mother Nature on the run in the 1970s’: Penelope Spheeris’s I Don’t Know
Notes
8 May Adadol Ingawanij – Aesthetics of potentiality: Nguyen Trinh Thi’s Essay Films
Artistic practice in post-Doi Moi Vietnam
The face of Nhu Quynh
Art and collective capacity
Notes
9 Sarah Neely and Sarah Smith – The art of maximal ventriloquy: Femininity as labour in the films of Rachel Maclean
Notes
Part Three Situations and Receptions
In conversation: Club des Femmes, Helena Reckitt –An interview on International Women’s Day 2017
Notes
10 Catherine Elwes – Strategies of exposure and concealment in moving image art by women; a cross- generational account
Introduction
Self-effacement; strategies of abstraction and displacement
Repositioning the gaze and the subcutaneous body
Masquerade, impersonation and surrogacy;‘ wrestling with the icon
Self-revelation ‘post-feminism’
Contemporary evocations of self
Notes
11 Maeve Connolly – Choreographing women’s work: Multitaskers, smartphone users and virtuoso performers
Introduction
The labour of appearance and the virtuoso performer
Women’s work on camera
Choreographing histories of labour
Conclusion
Notes
12 Maria Walsh – Female solidarity as uncommodifi ed value: Lucy Beech’s Cannibalsand Rehana Zaman’s Some Women, Other Women and all the Bittermen
Notes
13 Melissa Gronlund – Can we still talk about women artists?
Identification
Production
Reception
Academia
Notes
Bibliography
Index
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