The Gendered Screen: Canadian Women Filmmakers (Film and Media Studies)
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This book is the first major study of Canadian women filmmakers since the groundbreaking Gendering the Nation (1999). The Gendered Screen updates the subject with discussions of important filmmakers such as Deepa Mehta, Anne Wheeler, Mina Shum, Lynne Stopkewich, Léa Pool, and Patricia Rozema, whose careers have produced major bodies of work. It also introduces critical studies of newer filmmakers such as Andrea Dorfman and Sylvia Hamilton and new media video artists.
Feminist scholars are re-examining the ways in which authorship, nationality, and gender interconnect. Contributors to this volume emphasize a diverse feminist study of film that is open, inclusive, and self-critical. Issues of hybridity and transnationality as well as race and sexual orientation challenge older forms of discourse on national cinema. Essays address the transnational filmmaker, the queer filmmaker, the feminist filmmaker, the documentarist, and the video artist―just some of the diverse identities of Canadian women filmmakers working in both commercial and art cinema today.
project immediately engages, though in an expanded and critical sense: auteur theory and national cinema. In the introduction to Gendering the Nation: Canadian Women’s Cinema, the authors wonder whether “an examination of national cinema necessarily entail[s] an auteurist approach, an emphasis on films and filmmakers” (Armatage et al., 12), a question that the present editors also considered as we put this book together. We found ourselves caught up 3 WLUP Austin-Smith and Melnyk - Interior
ON N2L 3C5 Canada Dr. Ute Lischke Email: email@example.com Phone: 519-884-0710 Fax: 519-884-8307 WLUP Austin-Smith and Melnyk - Interior Artwork 1.indd 2 5/3/10 11:13:13 AM Brenda Austin-Smith and George Melnyk editors Canadian Women The Gendered Screen Filmmakers WLUP Austin-Smith and Melnyk - Interior Artwork 1.indd 3 5/3/10 11:13:13 AM This book has been published with the help of a grant from the Canadian Federation for the Humanities and Social Sciences, through the Aid to Scholarly
voice as a feminist auteur. Although Wheeler has worked in various industrial and institutional contexts and with different film forms, her use of the maternal gaze has remained a key tool for interrogating patriarchy and colonization and is essential to her reimagining and reconstructing female/maternal desire within the structure of the narrative genre film. Wheeler has given Canadian cinema her own western regional take on the maternal melodrama, a genre that has given her the wide-open space
Red Brigades in Italy, and the Weathermen, the Symbionese Liberation Army, and the Black Panthers in the US. 24 Among the films on the subject are Les ordres (Michel Brault, 1974) and Action: The October Crisis of 1970 (Robin Spry, 1973). 25 As in, for example, The SquidJigging Grounds (lithograph) and the “Oh Canada” segment of Reason Over Passion (film, 1968). Holmes-Moss considers Wieland’s lips in extended analysis. 26 Quoted in Holmes-Moss, Joyce Wieland fonds, CTASC, 1994004/003, File 3.
with sexual ambiguity. Hanna’s mother is depicted as an exhausted and depressive woman14 on whom the whole family relies: she is the one who makes ends meet, her husband being an unemployed poet who has never been published. Much of Hanna’s screen time is dedicated to her (failed) fusional relationships with different women: Laura, of course, and also the teacher who reminds her of Anna Karina, her idol, and, crucially, her mother. The love that Hanna has for the latter is unconditional and is