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COPY LINK DOWNLOAD: https://reader.softebook.net/yump/0262544520 Intersectional, intergenerational, and international perspectives on nonfiction filmmaking by women, generously illustrated, with film stills and other images.This book offers intersectional, intergenerational, and international perspectives on nonfiction film- and videomaking by and about women, examining practices that range from activist documentaries to avant-garde experiments. Concentrating primarily on the period between th

COPY LINK DOWNLOAD: https://reader.softebook.net/yump/0262544520

Intersectional, intergenerational, and international perspectives on nonfiction filmmaking by women, generously illustrated, with film stills and other images.This book offers intersectional, intergenerational, and international perspectives on nonfiction film- and videomaking by and about women, examining practices that range from activist documentaries to avant-garde experiments. Concentrating primarily on the period between th

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Intersectional, intergenerational, and international perspectives on nonfiction filmmaking by

women, generously illustrated, with film stills and other images.This book offers intersectional,

intergenerational, and international perspectives on nonfiction film- and videomaking by and about

women, examining practices that range from activist documentaries to avant-garde experiments.

Concentrating primarily on the period between the 1970s and 1990s, the contributions revisit

major figures, contexts, and debates across a polycentric, global geography. They explore how the

moving image has been a crucial terrain of feminist struggle&12a way of not only picturing the

world but remaking it. The contributors consider key decolonial filmmakers, including Trinh T.

Minh-ha and Sarah Maldoror explore collectively produced films with ties to women&17 liberation

movements in different countries and investigate the cinematic expressions of tensions and

alliances between feminism and anti-imperialist struggles. They grapple with the need for a

broader more inclusive definition of the term &20feminism&21 meditate on the figure of the

grandmother reflect on realist aesthetics and ask what a feminist film historiography might look

like. The book, generously illustrated with film stills and other images, many in color, offers ten

original texts, two conversations, and eight short essays composed in response to historical texts

written by filmmakers. The historical texts, half of which are published in English for the first time,

appear alongside the essays. ContributorsHelena Amirad&#380ibi, Madeleine Bernstorff, Teresa

Castro, Counter Encounters (Laura Huertas Mill&#225n, Onyeka Igwe, Rachael Rakes), Ayanna

Dozier, Forough Farrokhzad, Safi Faye, Devika Girish, Elena Gorfinkel, Haneda Sumiko, Shai

Heredia, Juliet Jacques, Sarah Keller, Nzingha Kendall, Julia Lesage, Beatrice Loayza,

Jana&#237na Oliveira, Lakshmi Padmanabhan, Yasmina Price, Elizabeth Ram&#237rez-Soto,

Pooja Rangan, Lis Rhodes, Sara Saljoughi, Rasha Salti, Isabel Segu&#237, Chick Strand, Monika

Talarczyk, Trinh T. Minh-ha, Fran&#231oise Verg&#232, Claudia von Alemann, Mitsuyo Wada-

Marciano, Shilyh Warren, Giovanna Zapperi

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