The most recent issue of Camera Obscura, “Women’s Film Authorship in Neoliberal Times: Revisiting Feminism and German Cinema,” edited by Hester Baer and Angelica Fenner, is now available.
Since German unification, many of the gains achieved during the feminist film movement of the 1970s have been undone, not least as a result of the dismantling of redistributive funding policies in the face of the global free market. Yet the rise of the Berlin School, the development of production collectives fostering women’s filmmaking, and the Pro Quote Film movement promoting gender parity in the film industry through quotas make the time ripe for a reconsideration of the relations between aesthetic form and the material conditions of women’s filmmaking in Germany.
This special issue reframes the legacies of the feminist film movement of the 1970s and 1980s in the context of the resurgence of film feminism in the 2010s. Arguing that German cinema constitutes a key site for theorizing women’s film authorship and feminist film production today, contributors to the issue investigate the relationship between aesthetic form and the material conditions of women’s filmmaking in light of neoliberalism and post-feminism.
You may also find these titles on international women’s cinema interesting.
Women′s Cinema, World Cinema: Projecting Contemporary Feminisms, edited by Patricia White, explores the dynamic intersection of feminism and film in the twenty-first century by highlighting the work of a new generation of women directors from around the world: Samira and Hana Makhmalbaf, Nadine Labaki, Zero Chou, Jasmila Zbanic, and Claudia Llosa, among others. The emergence of a globalized network of film festivals has enabled these young directors to make and circulate films that are changing the aesthetics and politics of art house cinema and challenging feminist genealogies.
Sisters in the Life: A History of Out African American Lesbian Media-Making, edited by Yvonne Welbon and Alexandra Juhasz, tells a full story of African American lesbian media-making spanning three decades. In essays on filmmakers including Angela Robinson, Tina Mabry and Dee Rees; on the making of Cheryl Dunye’s The Watermelon Woman(1996); and in interviews with Coquie Hughes, Pamela Jennings, and others, the contributors center the voices of black lesbian media makers while underscoring their artistic influence and reach as well as the communities that support them.
In The Battle of the Sexes in French Cinema, 1930–1956, by Noël Burch and Geneviève Sellier, adopt a sociocultural approach to films made in France before, during, and after World War II, paying particular attention to the Occupation years (1940–44). The authors contend that the films produced from the 1930s until 1956—when the state began to subsidize the movie industry, facilitating the emergence of an “auteur cinema”—are important, both as historical texts and as sources of entertainment. Citing more than 300 films and providing many in-depth interpretations, Burch and Sellier argue that films made in France between 1930 and 1956 created a national imaginary that equated masculinity with French identity.