37 Unsettling the West: First Nations Films in British Columbia

Chapters in this book

1. Front Matter i
2. Contents v
3. Illustrations ix
4. Acknowledgments xi
5. Introduction 3
6. Women Filmmakers: Refocusing History and Theory
7. Women, Film, Resistance: Changing Paradigms 15
8. Refocusing Authorship in Women’s Filmmaking 29
9. Women Filmmakers and the Avant-Garde: From Dulac to Duras 38
10. Cinefeminism in Its Middle Ages, or “Please, Please, Please Give Me Back My Pleasure”: The 1990s Work of Sally Potter, Chantal Akerman, and Yvonne Rainer 52
11. Close-up on the Life and Works of Auteures from Europe
12. Helma Sanders Brahms: An Introduction 65
13. Interview and Excerpts from a Master Class with Helma Sanders Brahms 72
14. The Personal and the Political: Interview with Margarethe von Trotta 78
15. Changing Identity: Margarethe von Trotta’s The Second Awakening of Christa Klages 85
16. Agnieszka Holland: Continuity, the Self, and Artistic Vision 97
17. The Dancing Body: Sally Potter as a Feminist Auteure 109
18. Women in the Mainstream: Using Popular Genres in Europe
19. The Vanishing Healer in Doris Dörrie’s Nobody Loves Me 119
20. Women Directors and Genre Films in France Brigitte Rollet 127
21. Mainstreaming the Margins in France: Three Films au Féminin 139
22. Lina Wertmüller: The Grotesque in Seven Beauties 152
23. Focus on Conditions of Production: Training, Funding, Distribution
24. Agnieszka Holland, Barbara Sass, and Dorota Kędzierzawska in the World of Male Polish Filmmaking 167
25. The Films of Helke Misselwitz: Reconstructing Gender and Identity in the Former GDR 180
26. “Cinéma des Copines” and an Interview with Patricia Plattner 189
27. Making Feature Films: Panel Discussion with Helma Sanders Brahms (Germany), Caroline Eades (France), Patricia Plattner (Switzerland), and Anne Wheeler (Canada) 200
28. Making Documentary Films: Panel Discussion with Nicole Giguère, Brenda Longfellow, Loretta Todd, and Aerlyn Weissman 209
29. Women’s Films through a Postcolonial Lens
30. Beyond Tradition and Modernity: Representations of Identity in Two Kenyan Films 219
31. Shuhaimi Baba and the Malaysian New Wave: Negotiating the Recuperation of Malay Custom (Adat) 229
32. Representation of Women in the Films of María Luisa Bemberg 240
33. Temporality and Identity in Sara Gómez’s Documentaries¹ 250
34. Sprung from Sisterhood: Interview with Yue-Qing Yang on Making Nu Shu: A Hidden Language of Women in China 264
35. National and Cultural Montages: Crossing Boundaries
36. An Introduction to Deepa Mehta: Making Films in Canada and India 273
37. Excerpts from a Master Class with Deepa Mehta 284
38. The Post of Colonial in the Works of Pratibha Parmar: Kiss My Chuddies 292
39. Interview and Excerpts from a Master Class with Pratibha Parmar 298
40. Documentaries Made in India: Raman Mann and Patricia Plattner 312
41. Representations of and by Minority Women
42. Women of Maghrebi Origin in Recent Films from France 323
43. Katinka Heyns: Questioning Afrikaans Culture 331
44. Making Novia que te vea: Interview with Guita Schyfter 342
45. Beyond the Homeland: Latinø-Canadian Film and the Work of Marilú Mallet and Claudia Morgado 348
46. Revisioning Gender and Diversity in Canada
47. Women Filmmakers in Quebec¹ 373
48. Querying/Queering Stereotypes: Interview with Carole Ducharme on Making Straight from the Suburbs 387
49. Shadow and Light: First Nations Women Filmmakers 394
50. Unsettling the West: First Nations Films in British Columbia 404
51. Leaving Gender Aside: The Legacy of Studio D? 419
52. The Gender of the Gaze in Cinematography: A Woman with a Movie Camera 434
53. Selected Film Sources 447
54. Select Bibliography 455
55. Notes on Contributors 473
56. About the Editors 477
57. Index 479