Suchergebnisse

Intro -- Acknowledgments -- Contents -- Notes on Contributors -- List of Figures -- Chapter 1: Introduction -- References -- Part I: Women Behind the Camera -- Chapter 2: Agnès Varda and the Singular Feminine -- Friends Old and New (Wave): Varda and Godard -- Reframing Agency in Varda par Agnès -- Varda and the New Cinephilia -- References -- Filmography -- Directed by Agnès Varda -- Chapter 3: Female Agency in Pelin Esmer Films: The Play (2005) and Queen Lear (2019) -- Introduction -- Digitality and Plurality -- Female Agency -- Conclusion -- References -- Chapter 4: The Feminine Indistinction in Susanne Bier's Cinema: The Brothers (2004), In a Better World (2010), Bird Box (2018) -- Introduction -- A Woman's Cinema -- Impossible Distinctions -- The Authentic 'Danish' and the Global -- Art House and/or Popular -- Gendering Inside and Outside, and Its Subversion -- Brothers (2004) -- In a Better World (2010) -- Bird Box (2018) -- Zones of Indistinction -- Conclusion: A Feminine Indistinction? -- References -- Chapter 5: Consuming Bodies, Abject Spaces: Ana Lily Amirpour's Transcultural Expressionism -- Introduction: Amirpour's Dark Fairy Tales -- Extractive Environments: A Girl Walks Home Alone at Night -- Abject Lives: The Bad Batch -- References -- Part II: Women on Screen -- Chapter 6: Claire Underwood: Feminist Warrior or Shakespearean Villain? Re-visiting Feminine Evil in House of Cards -- Introduction -- Motherhood -- Seduction -- Madness -- Conclusion -- References -- Chapter 7: The Phenomenology of Orphan Black as Molecular Politics -- Introduction: The World of Orphan Black -- A Phenomenological Look at Orphan Black -- Orphan Black as a Template of Molecular Politics -- Conclusion -- References -- Chapter 8: 'I Will Not Be Bullied into Submission': Discussing Subjection and Resistance in GLOW (2017) -- Introduction.