Chapters in this book

1. Frontmatter i
2. CONTENTS v
3. ILLUSTRATIONS vii
4. NOTES ON THE CONTRIBUTORS ix
5. FOREWORD xiii
6. INTRODUCTION 1
7. PART ONE DOCUMENTARY PRACTICES
8. 1. WOMEN IN THE DIRECTOR’S CHAIR: THE ‘FEMALE GAZE’ IN DOCUMENTARY FILM 7
9. 2. NEW DAY FILMS: COLLECTIVE AESTHETICS AND THE COLLECTION 22
10. 3. MORE THAN ONE 40
11. INTERVIEW: ‘THE FINAL PROJECTS OF HANNAH WILKE AND JO SPENCE’ – A DIALOGUE BETWEEN ELENA CRIPPA AND ANNA BACKMAN ROGERS 66
12. PART TWO DOCUMENTARY THEORIES
13. 4. THE FEMINIST VOICE: IMPROVISATION IN WOMEN’S AUTOBIOGRAPHICAL FILMMAKING 73
14. 5. SPEAKING ABOUT OR SPEAKING NEARBY? DOCUMENTARY PRACTICE AND FEMALE AUTHORSHIP IN THE FILMS OF KIM LONGINOTTO 90
15. 6. A POLITICS OF NEARNESS: USES OF MONTAGE AND HAPTICS IN DOCUMENTING CULTURAL EXPERIENCES OF COMMUNITIES OF INDIA 107
16. PART THREE FEMALE AUTHORSHIP AND GLOBAL IDENTITIES
17. 7. THE OTHER, THE SAME: TOWARDS A METAMODERN POETICS WITH HEDDY HONIGMANN 125
18. 8. THE MEMORIES OF BELLEVILLE BABY: AUTOFICTION AS EVIDENCE 144
19. 9. TO::FOR::BY::ABOUT::WITH::FROM:: TOWARDS SOLID WOMEN: ON (NOT) BEING ADDRESSED BY TRACEY MOFFATT’S MOODEITJ YORGAS 159
20. 10. CONSTRUCTING AN INTIMATE SPHERE THROUGH HER OWN FEMALE BODY: NAOMI KAWASE’S DOCUMENTARY FILMS 171
21. 11. CELEBRITY/ACTIVIST/ PHOTOGRAPHER: MIA FARROW 186
22. ‘BEING A WOMAN DOCUMENTARY MAKER IN TAIWAN’ – AN INTERVIEW WITH SINGING CHEN AND WUNA WU 205
23. SELECT BIBLIOGRAPHY 214
24. INDEX 217