Shot/Countershot: Film Tradition and Women's Cinema (Princeton Legacy Library, 961)

Do films made by women comprise a "counter-cinema" radically different from the dominant tradition? Feminist film critics contend that women filmmakers do present from a distinctive vision, or "countershot," and Lucy Fischer argues persuasively for this view. In rich detail this book relates the idea of a counter-cinema to theories of intertextuality and locates it in the broad context of recent feminist film, literary, and art criticism. Fischer also employs an original critical model of the dialogue between women's cinema and film tradition in the very organization of the book. Each chapter discusses a theme or genre (such as the musical, the "double," the myth of womanhood, and the figure of the actress), counterposing two or more works--from the feminist and from the dominant cinema. What emerges is a fascinating picture of a women's film tradition that not only addresses but reworks and remakes the mainstream cinema. Fischer successfully combines two main strains of feminist criticism: the deconstructive critique of the dominant culture from a feminist standpoint and the study of a feminist counterculture. Examining films from Persona and The Lady from Shanghai to Girlfriends and Sisters, or the Balance of Happiness, the book offers fresh interpretations of individual works and can, incidentally, serve as an introduction to the field of feminist film criticism. Originally published in 1989. The **Princeton Legacy Library** uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. Do Films Made By Women Comprise A Counter-cinema Radically Different From The Dominant Tradition? Feminist Film Critics Contend That Women Filmmakers Do Present From A Distinctive Vision, Or Countershot, And Lucy Fischer Argues Persuasively For This View. In Rich Detail This Book Relates The Idea Of A Counter-cinema To Theories Of Intertextuality And Locates It In The Broad Context Of Recent Feminist Film, Literary, And Art Criticism. Fischer Also Employs An Original Critical Model Of The Dialogue Between Women's Cinema And Film Tradition In The Very Organization Of The Book. Each Chapter Discusses A Theme Or Genre (such As The Musical, The Double, The Myth Of Womanhood, And The Figure Of The Actress), Counterposing Two Or More Works--from The Feminist And From The Dominant Cinema. What Emerges Is A Fascinating Picture Of A Women's Film Tradition That Not Only Addresses But Reworks And Remakes The Mainstream Cinema. Fischer Successfully Combines Two Main Strains Of Feminist Criticism: The Deconstructive Critique Of The Dominant Culture From A Feminist Standpoint And The Study Of A Feminist Counterculture. Examining Films From Persona And The Lady From Shanghai To Girlfriends And Sisters, Or The Balance Of Happiness, The Book Offers Fresh Interpretations Of Individual Works And Can, Incidentally, Serve As An Introduction To The Field Of Feminist Film Criticism. Pre/texts : An Introduction. Films Discussed : Fatima And Take Off -- Mythic Discourse. Films Discussed : The Lady From Shanghai ; Riddles Of The Sphinx -- The Lives Of Performers : The Actress As Signifier. Films Discussed : Persona ; The Girls -- Kiss Me Deadly : Heterosexual Romance. Films Discussed : Letter From An Unknown Woman ; Straight Through The Heart ; Recital -- Shall We Dance? : Woman And The Musical. Films Discussed : Dames ; Dance, Girl, Dance ; Strange Ditties ; Primitive Movers ; The Eighties -- Sisters : The Divided Self. Films Discussed : A Stolen Life ; Dark Mirror ; Cobra Woman ; The Bad Sister ; Sisters, Or The Balance Of Happiness -- Girl Groups : Female Friendship. Films Discussed : Rich And Famous ; Girlfriends -- Women In Love : The Theme Of Lesbianism. Films Discussed : Sotto, Sotto ; Lianna -- Murder, She Wrote : Women Who Kill. Films Discussed : Violette ; A Question Of Silence -- The Dialogic Text : An Epilogue. Films Discussed : The Man Who Envied Women. Lucy Fischer. Includes Index. Includes Bibliographical References And Index. Do films made by women comprise a "counter-cinema" radically different from the dominant tradition? Feminist film critics contend that women filmmakers do present from a distinctive vision, or "countershot," and Lucy Fischer argues persuasively for this view. In rich detail this book relates the idea of a counter-cinema to theories of intertextuality and locates it in the broad context of recent feminist film, literary, and art criticism. Fischer also employs an original critical model of the dialogue between women's cinema and film tradition in the very organization of the book. Each chapter discusses a theme or genre (such as the musical, the "double," the myth of womanhood, and the figure of the actress), counterposing two or more works--from the feminist and from the dominant cinema. What emerges is a fascinating picture of a women's film tradition that not only addresses but reworks and remakes the mainstream cinema.Fischer successfully combines two main strains of feminist criticism: the deconstructive critique of the dominant culture from a feminist standpoint and the study of a feminist counterculture. Examining films from Persona and The Lady from Shanghai to Girlfriends and Sisters, or the Balance of Happiness, the book offers fresh interpretations of individual works and can, incidentally, serve as an introduction to the field of feminist film criticism.Originally published in 1989.The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905 Do films made by women comprise a "counter-cinema" radically different from the dominant tradition? Feminist film critics contend that women filmmakers do present from a distinctive vision, or "countershot," and Lucy Fischer argues persuasively for this view. In rich detail this book relates the idea of a counter-cinema to theories of intertextuality and locates it in the broad context of recent feminist film, literary, and art criticism. Fischer also employs an original critical model of the dialogue between women's cinema and film tradition in the very organization of the book. Each chapter discusses a theme or genre (such as the musical, the "double," the myth of womanhood, and the figure of the actress), counterposing two or more works--from the feminist and from the dominant cinema. What emerges is a fascinating picture of a women's film tradition that not only addresses but reworks and remakes the mainstream cinema. Fischer successfully combines two main strains of feminist the deconstructive critique of the dominant culture from a feminist standpoint and the study of a feminist counterculture. Examining films from Persona and The Lady from Shanghai to Girlfriends and Sisters, or the Balance of Happiness, the book offers fresh interpretations of individual works and can, incidentally, serve as an introduction to the field of feminist film criticism. Originally published in 1989. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.