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Women's Cinema
Women's Cinema
Knygos.lt klubas Knygos.lt nariams
35,48 €
-30%
Įprastai
50,69 €
  • Išsiųsime per 12–18 d.d.
Women's Cinema provides an introduction to critical debates around women's filmmaking and relates those debates to a variety of cinematic practices. Taking her cue from the groundbreaking theories of Claire Johnston, Alison Butler argues that women's cinema is a minor cinema that exists inside other cinemas, inflecting and contesting the codes and systems of the major cinematic traditions from within. Using canonical directors and less established names, ranging from Chantal Akerman to Moufida…
  • Leidėjas:
  • Metai: 2003
  • Puslapiai: 144
  • ISBN-10: 1903364272
  • ISBN-13: 9781903364277
  • Formatas: 15.3 x 20.6 x 1.1 cm, minkšti viršeliai
  • Kalba: Anglų

Women's Cinema (el. knyga) (skaityta knyga) | Alison Butler | knygos.lt

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Women's Cinema provides an introduction to critical debates around women's filmmaking and relates those debates to a variety of cinematic practices. Taking her cue from the groundbreaking theories of Claire Johnston, Alison Butler argues that women's cinema is a minor cinema that exists inside other cinemas, inflecting and contesting the codes and systems of the major cinematic traditions from within. Using canonical directors and less established names, ranging from Chantal Akerman to Moufida Tlatli, as examples, Butler argues that women's cinema is unified in spite of its diversity by the ways in which it reworks cinematic conventions.
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  • Autorius: Alison Butler
  • Leidėjas:
  • Metai: 2003
  • Puslapiai: 144
  • ISBN-10: 1903364272
  • ISBN-13: 9781903364277
  • Formatas: 15.3 x 20.6 x 1.1 cm, minkšti viršeliai
  • Kalba: Anglų

Women's Cinema provides an introduction to critical debates around women's filmmaking and relates those debates to a variety of cinematic practices. Taking her cue from the groundbreaking theories of Claire Johnston, Alison Butler argues that women's cinema is a minor cinema that exists inside other cinemas, inflecting and contesting the codes and systems of the major cinematic traditions from within. Using canonical directors and less established names, ranging from Chantal Akerman to Moufida Tlatli, as examples, Butler argues that women's cinema is unified in spite of its diversity by the ways in which it reworks cinematic conventions.

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