By Anneke Smelik
And The reflect Cracked explores the politics and pleasures of up to date feminist cinema. Tracing the effective ways that feminist administrators create substitute movie varieties, Anneke Smelik highlights cinematic concerns that are crucial to feminist movies: authorship, viewpoint, metaphor, montage, and the over the top snapshot. In a continual reflect video game among idea and cinema, this research explains how those cinematic strategies are used to symbolize girl subjectivity absolutely and affirmatively. one of the motion pictures thought of are A query of Silence, Bagdad Café, and Sweetie and the Virgin Machine.
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Extra resources for And the Mirror Cracked: Feminist Cinema and Film Theory
Unlike the author in literature, the film director is assisted by a large crew in making a film. Filmmaking is therefore much more of a joint effort than creative work in other arts. Moreover, I question the usefulness of literary methods for film analysis. As is often the case for feminists, my position is made of a series of balancing acts: on the one hand, I agree with the emphasis that auteurism places on the director as filmmaker, because this allows me to hold her/him Page 32 accountable for the representation of sexual difference s/he enacts.
In some ways it is the journal of a crisis. For Sander, subjectivity (as referred to in the film title) is not a certain degree of autobiography, but rather a process of experience, which is privileged over story, just as narrativity is privileged over the finished product of narrative. As Sander writes herself, the subjective factor can be found 'in the connection of images and sound, in my rhythm, in my way of presenting, in the form of how images relate to other images through montage' (1980: 2).
This is the level of film form, strategies and rhetoric. I will now apply this scheme to my reading of The Subjective Factor, a feminist film that leads into the heart of the matter: the representation of female subjectivity in women's cinema. Page 33 Subjective Factors In The Subjective Factor filmmaker Helke Sander narrates the rise of the Women's Movement in West Germany at the end of the 1960s. The most important feature of the film is its breakdown of traditional genre distinctions: within a fictional narrative about main character Anni who lives in a particular time (1967–70) and in a particular place (Berlin), Sander has included many documentary images such as pictures, pamphlets, posters, newspapers, newsreel and film footage of those years.
And the Mirror Cracked: Feminist Cinema and Film Theory by Anneke Smelik