Incomplete : The Feminist Possibilities of the Unfinished Film

This field-defining collection establishes unfinished film projects—abandoned, interrupted, lost, or open-ended—as rich and underappreciated resources for feminist film and media studies. In deeply researched and creatively conceived chapters, scholars join with film practitioners in approaching the unfinished film as an ideal site for revealing the lived experiences, practical conditions, and institutional realities of women's film production across historical periods and national borders. Incomplete recovers projects and practices marginalized in film industries and scholarship alike, while also showing how feminist filmmakers have cultivated incompletion as an aesthetic strategy. Objects of loss and of possibility, incomplete films raise profound historiographical and ethical questions about the always unfinished project of film history, film spectatorship, and film studies. "This field-defining collection establishes unfinished film projects--abandoned, interrupted, lost, or open-ended--as rich and underappreciated resources for feminist film and media studies. In a series of deeply researched and creatively conceived chapters, scholars join with film practitioners in approaching the unfinished film as an ideal site for revealing the lived experiences, practical conditions, and institutional realities of women's film production across historical periods and national borders. Incomplete recovers projects and practices marginalized in film industries and scholarship alike, while also showing how feminist filmmakers have cultivated incompletion as an aesthetic strategy. Objects of loss and of possibility, incomplete films raise profound historiographical and ethical questions about the always-unfinished project of film history, film spectatorship, and film studies"-- Provided by publisher This field-defining collection establishes unfinished film projects — abandoned, interrupted, lost, or open-ended — as rich & underappreciated resources for feminist film & media studies. In deeply researched & creatively conceived chapters, scholars join with film practitioners in approaching the unfinished film as an ideal site for revealing the lived experiences, practical conditions, & institutional realities of women's film production across historical periods & national borders. Incomplete recovers projects & practices marginalized in film industries & scholarship alike, while also showing how feminist filmmakers have cultivated incompletion as an aesthetic strategy. Objects of loss & of possibility, incomplete films raise profound historiographical & ethical questions about the always unfinished project of film history, film spectatorship, & film studies.