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Full Description
Examines the politics of female authorship in relation to contemporary documentary practicesThis book, like its twin volume 'Female Authorship and the Documentary Image', centres on pressing issues in relation to female authorship in contemporary documentary practices. Addressing the politics of representation and authorship both behind and in front of the camera, a range of international scholars now expand the theoretical and practical framework informing the current scholarship on documentary cinema, which has so far neglected questions of gender.'Female Agency and Documentary Strategies' centres on how self-portraiture and contemporary documentary manifestations such as blogging and the prevalent usage of social media shape and inform female subjectivities and claims to truth. The book examines the scope of authorship and agency open to women using these technologies as a form of activism, centring on notions of relationality, selfhood and subjectivity, and includes interviews with Hong Kong based activist filmmaker and scholar Vivian Wenli Lin and Spanish documentarist Mercedes Alvarez.ContributorsAnna Backman Rogers, University of GothenburgLinda C. Ehrlich, Writer, Teacher, EditorKerreen Ely-Harper, Creative Media Researcher and Filmmaker Kristopher Fallon, University of California, DavisCadence Kinsey, University of YorkCarla Maia, Centro Universitario UNALidia Meras, Film Historian and ResearcherAnna Misiak, Falmouth UniversityKim Munro, Filmmaker, Artist and Teacher Kate Nash, University of LeedsJohn A. Riley, Woosong UniversityMonica Titton, University of Applied Arts and at the Academy of Fine Arts in ViennaBoel Ulfsdotter, Independent Scholar Gail Vanstone, York University, Toronto
Contents
Preface Kate Nash Introduction Boel Ulfsdotter and Anna Backman Rogers
Section one: NEW MEDIA AND ACTIVISMChapter 1: KRISTOPHER FALLON: "The Pencil of Identity: Instagram as Inadvertent (Female) Autobiography"Chapter 2: CADENCE KINSEY: "Archetype and Authenticity: Reflections on Amalia Ulman's Excellences and Perfections"Chapter 3: MONICA TITTON: "Blogging the Female Self: Authorship, Self-Performance and Identity Politics in Fashion Blogs"
Section two: RELATIONALITY, SELFHOOD AND SUBJECTIVITIESChapter 4: GAIL VANSTONE: "'Scriptrix Narrans' - Digital Documentary Storytelling's Radical Potential"Chapter 5: KIM MUNRO: "Hybrid Practices and Voice-Making in Contemporary Female Documentary Film" Chapter 6: KERREEN ELY-HARPER: "Record Keeping: Family Memories on Film - Rea Tajiri's History and Memory: For Akiko and Takashig and Wisdom Gone Wild"Chapter 7: ANNA BACKMAN ROGERS: "Not Because My Heart Is Gone; Simply The Other Side": Francesca Woodman's Relational and Ephemeral Subjectivity at the Limit of the Image"Chapter 8: CARLA MAIA: "Other Women: Thinking Class and Gender in Contemporary Interview: "Visualising Our Voices": Hong Kong Scholar and Film Director Vivian Wenli Lin, in Conversation With Boel Ulfsdotter"
Section three: IDENTITY POLITICS OF DOCUMENTARYChapter 9: ANNA MISIAK: "From Visceral Style to Discourse of Resistance": Reading Alka Sadat's Afghan Documentaries on Violence Against Women"Chapter 10: JOHN A. RILEY: "Documenting Georgia in Transition: The Films of Salome Jashi and Nino Kirtadze"Chapter 11: LIDIA MERAS: "Profession: Documentarist. Underground Documentary Making in Iran"Interview: "Reflecting Through Images": The Documentaries of Mercedes Alvarez by Linda Ehrlich
