In Women's Cinema, World Cinema, Patricia White explores the dynamic intersection of feminism and film in the twenty-first century by highlighting the work of a new generation of women directors from around the world: Samira and Hana Makhmalbaf, Nadine Labaki, Zero Chou, Jasmila Zbanic, and Claudia Llosa, among others. The emergence of a globalized network of film festivals has enabled these young directors to make and circulate films that are changing the aesthetics and politics of art house cinema and challenging feminist genealogies. Extending formal analysis to the production and reception contexts of a variety of feature films, White explores how women filmmakers are both implicated in and critique gendered concepts of authorship, taste, genre, national identity, and human rights. Women's Cinema, World Cinema revitalizes feminist film studies as it argues for an alternative vision of global media culture.
Acknowledgments vii
Introduction 1
1. To Each Her Own Cinema. World Cinema and the Woman Cineaste 29
Jane Campion's Cannes Connections 30
Lucrecia Martel's Vertiginous Authorship 44
Samira Makhmalbaf's Sororal Cinema 56
2. Framing Feminisms. Women's Cinema as Art Cinema 68
Deepa Mehta's Elemental Feminism 76
Iranian Diasporan Women Directors and Cultural Capital 88
3. Feminist Film in the Age of the Chick Flick. Global Flows of Women's Cinema 104
Engendering New Korean Cinema in Jeong Jae-eun's Take Care of My Cat 108
Nadine Labaki's Celebrity 120
4. Network Narratives. Asian Women Directors 132
Two-Timing the System in Nia Dinata's Love for Share 136
Zero Chou and the Spaces of Chinese Lesbian Film 142
5. Is the Whole World Watching? Fictions of Women's Human Rights 169
Sabiha Sumar's Democratic Cinema 175
Jasmila Žbanic's Grbavica and Balkan Cinema's Incommensurable Gazes 181
Claudia Llosa's Trans/national Address 187
Afterword 199
Notes 203
Bibliography 235
Filmography 247
Index 251
