University Press Copublishing Division / Fairleigh Dickinson University Press
Pages: 246
•
Trim: 6½ x 9¼
978-1-61147-632-3 • Hardback • May 2014 • $120.00 • (£92.00)
978-1-61147-960-7 • Paperback • April 2016 • $54.99 • (£42.00)
978-1-61147-633-0 • eBook • May 2014 • $52.00 • (£40.00)
Cybelle H. McFadden is assistant professor of French and is also a member of the Women’s and Gender Studies Program faculty at the University of North Carolina at Greensboro.
Contents
Acknowledgments
Introduction: Gendered Frames, Embodied Cameras in Contemporary French Cinema (1987-2009)
Section I: Self-Authorization Through Self-Representation
Chapter One: Reflected Reflexivity: Agnès Varda’s Aging Female Body
Chapter Two: Enacted Reflexivity: Chantal Akerman par Chantal Akerman
Chapter Three: Hybrid Reflexivity: Dominique Cabrera’s Half-Body, Half-Camera
Section II: Self-Construction Through Faux Narratives
Chapter Four: Orchestrated Reflexivity: Sophie Calle’s Narrative Body as Artist
Chapter Five: Faux Reflexivity: Maïwenn’s Camera and the Female Body
Conclusion: Reflections on Gendered Frames, Embodied Cameras
Bibliography
Index
About the Author
McFadden presents an original and thought-provoking overview of a particular strategy in women's filmmaking, which will be of interest to any future researchers of this theme, in France or further afield.
— French Studies
Chapters function both independently and inter-dependently, which is a great advantage for those who teach French cinema, as chapters can easily be pulled as readings, just as the entire book can be assigned for courses on Contemporary French Cinema or Women’s Filmmaking in France. The book is a welcomed addition to scholarship on all five filmmakers, particularly to the few published explorations on Maïwenn, which tend to focus on Polisse (2011). The book will be of interest to enthusiasts, scholars, and students of French Studies, FilmStudies, and Contemporary Feminist and Gender Studies.
— The French Review