Focusing on the intersection of women's filmmaking and digital technology, this project critically examines how online platforms serve as vital spaces for the production and promotion of women's cinema. Through a transnational feminist lens, it explores the concept of women's cinema 2.0 as a form of resistance against neo-liberalism and post-feminism. The author highlights the challenges of increasing visibility for women's films in a global market, while addressing the evolving dynamics of media and feminist discourse in the digital age.
Focusing on the impact of women-led film and video organizations from the 1970s and early 1980s, this book explores their critical contributions to moving image culture and the public sphere. It traces the historical trajectories of these organizations in Western Europe and North America, highlighting their enduring influence and relevance in contemporary media landscapes. Through this lens, the narrative reveals the transformative role of these initiatives in shaping cultural discourse and promoting diverse voices in film.
This collection examines Duras’s impact on contemporary cinema, using the metaphor of the ‘dark room’—la chambre noire—to describe her solitary writing process and the film theater experience. Duras challenges conventional cinematic forms that foster positive identification with narrative, instead creating unique relationships between image and sound, as well as diegetic and extra-diegetic elements. This innovative approach invites spectators to forge new connections with the screen. The book addresses the aesthetic, conceptual, and political challenges of Duras’s cinematic representation through an interdisciplinary lens, incorporating film and literary theory, psychoanalysis, music theory, gender studies, and post-colonial criticism. It begins with a theoretical introduction to Duras’s cinematic practice and its distinctive role in contemporary film theory. The collection is organized into five parts, each focusing on a specific aspect of her films: the interplay between literature and cinema (Part One); the reconfiguration of the cinematic gaze (Part Two) and the relationship between image and sound (Part Three); and the representation of history and memory (Part Four) and cultural identity (Part Five).
