|
|
|
editorial
In a recent French documentary profiling female directors, Women Behind the Camera (Jean-Marie Nizan, 2001), Agnès Varda observes, “Little by little, by studying or with a bit of cheek, women have invaded the field of cinema”. It is a telling comment, particularly Varda's choice of verb. The implications are clear: that cinema as a 'field' was foreign if not hostile to women, who were therefore forced to 'attack' the art form in order to gain access. Varda then goes on to identify the many commercially and critically successful films directed by women in recent times. Ironically, she is participating in a documentary that attempts to interview an internationally representative range of female directors in the space of 60 short minutes.
That such a project would even be considered feasible is perhaps symptomatic of the ambivalent status women filmmakers still occupy in the global cinematic arena. While women are still under-represented in the key creative areas of filmmaking in virtually every nation, they continue to make an increasing impact on the international screen. With these two Special Women's Cinema issues, we are committed to giving the work of women in cinema the space, appreciation and analysis it richly deserves.
Given the tremendous response to our original call for contributions to the Special Women's Issue, we decided to extend our focus on women over two consecutive issues. This second instalment includes a series of interviews with local and international filmmakers, from Australian producer Jan Chapman to French director Claire Denis. The Star symposium, an expansion of the previous issue's Female Glamour section, includes a diverse range of tributes to favourite female actors, from classic icons such as Louise Brooks to latter day 'it girl' Kate Hudson. Historical perspectives include Rosanna Maule's persuasive argument for pioneering French filmmaker Germaine Dulac as author/auteur while Felicity Collins tackles contemporary representations of the feminine in Australian romantic comedies.
Senses' commitment to profiling filmmakers historically overlooked continues in this issue with essays on Doris Wishman, female exploitation artist extraordinaire, and Dame Darcy, musician, artist and animator. These two women represent artists working on the margins, contesting conventional ideas of gender, sexuality, morality and aesthetics and notions of taste. Finally, the distaff contribution to the field of film criticism is covered in the two interviews with Manohla Dargis and Sylvie Pierre. The latter, which evolves as a “transatlantic conversation” via email, is particularly fascinating for its insight into Pierre's journey of 'testing' film criticism and the ideals of May '68 against the political reality of a country like Brazil. It's also an evocative reflection on the 'life' of a film critic in the broadest sense.
We hope you enjoy, as much as we have, discovering the extraordinary contribution women have made, and continue to make, to the history of the cinema.
Special thanks go to Karli Lukas and the Department of Communications, RMIT University, Melanie Coombs, Christa Fuller, and finally, Inge Pruks, whose unwavering commitment and diligence is greatly appreciated.
Rose Capp and Fiona A. Villella
go to Contents, Issue 23
Senses of Cinema is
an online film journal devoted to the serious and eclectic discussion
of cinema. It has been set up to address a lack of cinephilic writing
in local discourse, that is, writing sprung from the desire to think and
write seriously, knowledgeably and passionately about film.
Senses of Cinema is unique in its eclecticism: it encourages articles of all styles
(casual, personal, academic, critical, impressionistic and poetic - or a
combination of these), analytical approaches (thematic, psychoanalytic,
etc) and subject matter. The only criteria that we prescribe are that all
articles are demonstrably passionate, serious, intelligent and insightful
reflections and/or analyses on the topic of cinema.
Senses of Cinema promotes various divergent "voices" that speak to a wide and
diverse audience. It aims to bring together a mix of writers: established
and emerging, theorists and un-published cinephiles, filmmakers and
film programmers, and local and international writers.
We are particularly
committed to discussing art, independent, experimental and third world cinemas
(everything from Renoir to Antonioni to Solàs to Oshima to Morrissey
to Jost to Friedrich to Snow, feature films as well as short films) , theorising
new encounters with digital technologies, and promoting writing that increases
one's understanding and appreciation of cinema.
We recognise that an object as ephemeral and ethereal as cinema continues to fascinate,
to provoke, to inspire, to turn on, to evolve. And it is in relation to
this object that we seek to facilitate and encourage expression and appreciation.
Want to contribute to this journal?
about us
If you have a suggestion for the links page, contact Albert.
Senses of Cinema
(ISSN 1443-4059) is published approximately bi-monthly by Senses of Cinema
Inc.
Copyright 1999-2002 Senses of Cinema Inc and the contributors.
As under the Copyright Act 1968 (Australia), no part of this journal may be reproduced by any process without the written permission of the editors except for the purposes of private study, research, criticism or review. These works may be read online, downloaded and copied for the above purposes but must not be copied for any other individuals or organisations. The work itself must not be published in either print or electronic form, be edited or otherwise altered or used as a teaching resource without the express permission of the author.
All views expressed in this journal are those of the authors and not the editors (unless indicated).
Senses of Cinema Inc Senses of Cinema is indexed in the MLA (Modern Language
Association of America) International Bibliography and is listed in the
MLA Directory of Periodicals.
All Australian content in Senses of Cinema is indexed in APAIS
(Australian Public Affairs Information Service) of the National Library
of Australia.
All reviews of individual films published in Senses of Cinema are indexed in the Movie Review Query Engine.
|
contents great directors cteq annotations top tens about us links archive search