Download Women’s Cinema, World Cinema: Projecting Contemporary Feminisms PDF

TitleWomen’s Cinema, World Cinema: Projecting Contemporary Feminisms
PublisherDuke University Press Books
ISBN 139780822358053
CategoryArts - Film
Author
LanguageEnglish
File Size2.0 MB
Total Pages281
Table of Contents
                            Contents
Acknowledgment
Introduction
1. To Each Her Own Cinema. World Cinema and the Woman Cineaste
	Jane Campion’s Cannes Connections
	Lucrecia Martel’s Vertiginous Authorship
	Samira Makhmalbaf’s Sororal Cinema
2. Framing Feminisms. Women’s Cinema as Art Cinema
	Deepa Mehta’s Elemental Feminism
	Iranian Diasporan Women Directors and Cultural Capital
3. Feminist Film in the Age of the Chick Flick. Global Flows of Women’s Cinema
	Engendering New Korean Cinema in Jeong Jae-eun’s Take Care of My Cat
	Nadine Labaki’s Celebrity
4. Network Narratives. Asian Women Directors
	Two-Timing the System in Nia Dinata’s Love for Share
	Zero Chou and the Spaces of Chinese Lesbian Film
5. Is the Whole World Watching? Fictions of Women’s Human Rights
	Sabiha Sumar’s Democratic Cinema
	Jasmila Žbani´c’s Grbavica and Balkan Cinema’s Incommensurable Gazes
	Claudia Llosa’s Trans/national Address
Afterword
Notes
Bibliography
Filmography
Index
                        
Document Text Contents
Page 2

WOMEN’S CINEMA,
WORLD CINEMA

Page 140

the age of the chick flick 129

Yet the habitual equation of masculine with war and feminine with
home is challenged when one grows up during wartime, when public and
private cannot be separated. If the female- cast homefront film is structured
in opposition to war films in Hollywood, no such separation of spheres
existed in the reality of the Lebanese civil war. In an English- language in-
terview, Labaki describes being forced to stay indoors as a child; she grew
up on Dynasty and Dallas, Egyptian films and French ones, influences that
converge in her aesthetic.34

But the ambition to make a Lebanese film free of connotations of war
was crushed by the fact that just a week after Caramel wrapped in sum-
mer 2006, war broke out again, this time between Israel and Hezbollah.
The July war lasted thirty- four days, with a large number of civilian deaths
in southern Lebanon and Israeli airstrikes in southern Beirut. Retrospec-
tively, war can be seen as a structuring absence of Caramel. The younger
characters don’t mention it; and Lily, Rose’s aged sister who suffers from
dementia, is troubled by an inassimilable event in her past. But the unstable
context into which the film was released made the national legacy of war
impossible to disavow. “[Although] it wasn’t my intention when I wrote it,”
Labaki admits, “because of the events, I would say yes [Caramel is a politi-
cal film]. . . . In Lebanon, . . . politics slip into the most intimate areas of
our lives. . . . I thought I could get away from it but the reality of the war
caught up with me.”35 Labaki’s remark illustrates the feminist claim that
the personal is political and suggests that an “apolitical” or “postfeminist”
concern with telling love stories might meaningfully mediate this context.

Despite her stated desire to change the national subject, in Where Do
We Go Now? Labaki engages with sectarian conflict. The film was written,
she emphasizes in interviews, after the 2006 Israeli air strikes and while
she was pregnant with her son, scripting her authorial image according to
another powerful discourse, the maternal. Where Do We Go Now? is a tragi-
comedy set in a remote village in an unnamed country, as news of sectarian
violence threatens to endanger the village’s sons, igniting conflict between
Christian and Muslim neighbors. The combination of topicality and fable-
like storytelling elevates Labaki to a mediator role, narrating the nation
while avoiding specificities like Palestinian politics (fig. 3.8).

The film addresses politics, both feminism and sectarian violence, more
directly than Caramel, while again employing the formula of a female en-
semble cast of nonprofessionals—and the director in the lead role as literal
mediator. And this time it’s a musical. Again produced by Anne-Dominique
Toussaint, and employing many of the same production personnel (cos-

Page 141

130 chapter three

tume designer, cowriter, composer), the film shows the village’s women
banding together to keep the men from fighting. Christian and Muslim
women gather in the café run by Labaki’s Amale to bake hash brownies
(Mouzanar composed the song “Hashishit Albe,” with lyrics by Tania Saleh)
to confuse them, bring in a busload of Ukranian strippers to distract them,
and swap clothing across religious lines to confound them. If Caramel treats
Muslim/Christian difference as primarily sartorial—a matter of Layale’s
cross—Where Do We Go Now? recognizes the link between clothing and
identity as both performative and deadly serious. Like Caramel, Where Do
We Go Now? relies on generic elements of the women’s film for its power.
These choices characterize Labaki’s unique presence in world cinema as
a filmmaker advocating women’s point of view on geopolitical questions
through entertainment cinema that will play to different audiences.

The surprise winner of the audience prize at the Toronto International
Film Festival (the festival’s major prize) and Lebanon’s pick for the Oscar
competition, Where Do We Go Now? failed to get the nomination, and its U.S.
release through Sony Pictures Classics was unremarkable. But its box- office
performance broke records in Lebanon, where it became the third- highest-
grossing film after Titanic and Avatar. The film was distributed throughout
the Middle East and North Africa; when theater chains refused to screen it

figure 3.8 In Where Do We Go Now? Labaki again casts herself at the
center of a female community, which in this instance unites for social change.
Sony Pictures Classics.

Page 280

index 269

Theidon, Kimberly, 192
Third Cinema, 12, 14, 47, 172
Thirst, 211n38
35 Shots of Rum / 35 Rhums, 72
Three Dots Entertainment, 148
Titanic, 130
Tlatli, Moufida, 172; Silences of the Palace, 5,

171, 180
To Each His Own Cinema / Chacun son cinema,

22, 30–36, 31, 38–39, 66, 211n32
Toloui, Shabnam, 97, 99
Tolousse Latin American Film Festival, 44
tomboys, 118, 142, 149, 162–167
tongzhi, 147, 158–159, 227n40
Top of the Lake, 209n13
Toronto International Film Festival (tiff), 18,

20, 72, 76–78, 88, 130, 208n9, 218n19
Toronto lgbt Film Festival, 154
Tóth, Orsolya, 98
Touch of Zen, A, 211n30
Toussaint, Anne- Dominique, 123, 129
transgender people, 112, 165–166, 229n61
transmedia, 132
transvestites, 148
Treeless Mountain, 222n7
Treut, Monika, 225n18
Tribeca Film Festival, 18, 136
Trinh T. Minh- ha, 12
Troche, Rose: Go Fish, 225n18
Tropical Malady, 142–144, 167
Trouble Every Day, 208n10
Tsai Ming- liang, 144, 146, 156, 228n47
Tunisian cinema, 5, 171–172, 180. See also

individual directors and films
Turbulent, 100
Turin Gay and Lesbian Film Festival, 157
Turkish cinema, 206n27, 232n26. See also

individual directors, festivals, and films
Twin Bracelets, The, 160
Two Friends, 35
Two- Legged Horse, 214n67, 214n73, 215n84

ufo in Her Eyes, 5
Uncle Boonmee Who Can Recall His Past Lives,

144
Underground, 183
UniFrance Films, 209n14
United Nations: unicef, 223n24; Convention

on the Elimination of All Forms of Discrim-
ination against Women, 170

Universal Declaration of Human Rights, 170
Ustaoğlu, Yeşim: Somewhere in Between,

232n26

Vachon, Christine, 225n18
Van Hoeij, Boyd, 188
Varda, Agnès, 9, 20, 22, 37, 209n9, 210n15; The

Beaches of Agnès, 72; Cleo from 5 to 7, 208n10
Vargas Llosa, Mario, 189, 232n31
Variety, 32, 35, 101, 114, 162, 188, 193, 203n4
vcds, 150
Venice Film Festival: film premiers, 5, 60, 89,

100, 123, 208n10, 210n15, 214n63, 215n75,
220n46; role in festival circuit, 21, 29, 31,
37, 207n48, 208n9

Vercoe, Kym, 231n16
Vertigo, 51–52
Video Femmes, 205n18
Villazana, Libia, 232n30
violence, 108, 122; acid attacks on women, 176;

Ayacucho massacre, 189, 232n31; domestic
violence, 219n35; femicide, 169, 230n3; gay
bashing, 152; genocide, 220n53; hate mail,
183; sati, 83, 219n31; sectarian violence,
79, 129, 177–180, 193; stalking, 153; state
violence, 47–48, 100, 171, 173; torture, 185.
See also colonialism; heteronormativity;
homophobia; imperialism; neoliberalism;
orientalism; patriarchy; racism; sexism;
sexual violence; war

Visible Evidence conference, 206n26
Vitti, Monica, 51, 212n55
Von Trotta, Margarethe, 37, 208nn9–10

Wadjda, 5, 206n28
Wang, Chun- Chi, 148, 227n30, 229n54,

229n63
Wang, Lingzhen, 12, 133
Wang Ping, 160
Wang, Sam, 167
war, 60, 204n8; Afghanistan, 60–65, 214n69,

215n83; Bosnian, 6, 173, 181–187, 230n11,
231n16; Cold War, 154, 174; Iraq, 1–3; June
War, 107; Lebanese civil, 105, 117, 121–123,
128–129; Peruvian, against Senderistas,
232n31; rape as tactic of, 26, 169, 173,
180–187, 230n3, 230n11, 231n23; on terror,
1–4, 174; World War II, 17, 29, 34, 37, 61, 111,
223n30. See also colonialism; imperialism

Warner Bros., 216n6

Page 281

270 index

Warner Independent, 216n6
Water, 21, 23, 68, 76–88, 81, 92, 119, 218n20,

219n26, 219n29, 219n31
Waters, John, 213n57
Wavebreaker, 160, 227n40
Way Home, The, 111
Wedding Banquet, The, 147–148
Wedding Song / Le chant des mariées, 75,

223n30
Weerasethakul, Apichatpong: Tropical Malady,

142–144, 168, 224n6; Uncle Boonmee Who
Can Recall His Past Lives, 144

Wendy and Lucy, 40
Wertmüller, Linda, 22, 37; Love and Anarchy,

208n10; Seduction of Mimi, 208n10
When Father Was Away on Business, 183
When I Saw You, 223n25
Where Do We Go Now? / Et maintenant on va

où?, 24, 106–107, 129–130
Whip It, 216n5
White, Armond, 212n45
Who Will Cast the First Stone?, 175–176
Why Democracy?, 174, 176
Wild Bunch, 214n73
Williams, Raymond, 73
Wolfe Video, 144, 157
Women and Hollywood, 203n4
Women and the Silent Screen conference,

206n26
Women in Film, 205n18
Women in Film and Television, 11
Women in Film Los Angeles, 216n7, 218n19
Women in the Director’s Chair, 11
Women Make Movies, 11, 19, 160, 186, 205n18,

206n28, 230n3
Women Make Waves festival, 8, 11, 142, 160
Women of Allah, 96
Women’s Cinema Event, 205n18
Women’s Film Fund, 42
Women without Men / Zanan- e bedun- e mardan,

24, 76, 89–90, 97–100, 98, 99, 215n75,
220n45

Wong Kar Wai, 78, 210n22, 224n6
Woolf, Virginia, 17, 36, 204n8, 207n49
Working Girls, 225n12

World, The / Shijie, 223n21
World Cinema Fund, 173, 175, 187–188, 208n3,

232n36
World War II, 17, 29, 37, 61, 111, 223n30
Wu, Alice: Saving Face, 72
WuDunn, Sheryl, 230n3
wuxia, 132

xxy, 5, 47, 195, 213n57

Yang, Edward, 146
Yang, Rainie, 150
Yentl, 203n1
Yes, 72
Yim Soo- rye: Forever the Moment, 111
Young and Wild / Joven y alocada, 232n34
Young Indiana Jones Chronicles, 78, 219n29
You Only Live Once, 220n53
youth, 194; in The Aggressives, 221n5; in Drift-

ing Flowers, 142–143, 161–167; in Formula
17, 149, 227n30; in Grbavica, 183; in Green
Days, 215n79; in Persepolis, 69, 76, 93–96,
101; in Silent Waters, 177–179; in Spider
Lilies, 149, 148–154; in Women without Men,
97–99; in xxy, 47; youth audiences, 108,
112, 148–151, 164, 168, 227n30, 228n43. See
also boys; girls

YouTube, 150, 224n36
Yujin’s Secret Codes, 112

Zaidi, Mazhar, 230n4
Zarin, 97
Žbanić, Jasmila, 6, 174; For Those Who Can Tell

No Tales, 231n16; Grbavica, 26, 173, 181–187,
193, 198; Love Island, 231n19

zdf, 171, 176
Zero Dark Thirty, 204n11
Zetterling, Mai, 37, 208n10
Zhang Yimou, 133
Zhang, Yuan: East Palace, West Palace, 161
Zhang Ziyi, 139
Zhu Yiye, 161
Zimmerman, Patricia, 186
Zinda Bhaag, 230n4
Zinta, Preity, 219n35

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