Kapitel in diesem Buch

1. Frontmatter i
2. CONTENTS v
3. ILLUSTRATIONS vii
4. NOTES ON THE CONTRIBUTORS ix
5. FOREWORD xiii
6. INTRODUCTION 1
7. PART ONE. NEW MEDIA AND ACTIVISM
8. 1. THE PENCIL OF IDENTITY: INSTAGRAM AS INADVERTENT (FEMALE) AUTOBIOGRAPHY 7
9. 2. ARCHETYPE AND AUTHENTICITY: REFLECTIONS ON AMALIA ULMAN’S EXCELLENCES & PERFECTIONS 23
10. 3. BLOGGING THE FEMALE SELF: AUTHORSHIP, SELF-PERFORMANCE AND IDENTITY POLITICS IN FASHION BLOGS 38
11. PART TWO. RELATIONALITY, SELFHOOD AND SUBJECTIVITIES
12. 4. ‘SCRIPTRIX NARRANS’: DIGITAL DOCUMENTARY STORYTELLING’S RADICAL POTENTIAL 55
13. 5. HYBRID PRACTICES AND VOICE MAKING IN CONTEMPORARY FEMALE DOCUMENTARY FILM 70
14. 6. RECORD KEEPING: FAMILY MEMORIES ON FILM – REA TAJIRI’S HISTORY AND MEMORY: FOR AKIKO AND TAKASHIGE AND WISDOM GONE WILD 84
15. 7. ‘NOT BECAUSE MY HEART IS GONE; SIMPLY THE OTHER SIDE’: FRANCESCA WOODMAN’S RELATIONAL AND EPHEMERAL SUBJECTIVITY AT THE LIMIT OF THE IMAGE 100
16. 8. OTHER WOMEN: THINKING CLASS AND GENDER IN CONTEMPORARY BRAZILIAN DOCUMENTARY FILM 114
17. INTERVIEW: ‘VISUALISING OUR VOICES’ – HONG KONG SCHOLAR AND FILM DIRECTOR VIVIAN WENLI LIN IN CONVERSATION WITH BOEL ULFSDOTTER 125
18. PART THREE. IDENTITY POLITICS OF DOCUMENTARY
19. 9. FROM VISCERAL STYLE TO DISCOURSE OF RESISTANCE: READING ALKA SADAT’S AFGHAN DOCUMENTARIES ON VIOLENCE AGAINST WOMEN 135
20. 10. DOCUMENTING GEORGIA IN TRANSITION: THE FILMS OF SALOMÉ JASHI AND NINO KIRTADZE 156
21. 11. PROFESSION: DOCUMENTARIST: UNDERGROUND DOCUMENTARY MAKING IN IRAN 170
22. 12. ‘REFLECTING THROUGH IMAGES’: THE DOCUMENTARIES OF MERCEDES ÁLVAREZ 184
23. SELECT BIBLIOGRAPHY 194
24. INDEX 201