Abstract
Through a critical feminist analysis of the construction of a gendered cinematic gaze, this article contrasts two differing film practices: «women's cinema» and the «woman's film.» The author argues that these cinematographic practices articulate a representation of women in terms of the object/suject axis of the gaze. Three film analyses are presented. The first two, The Berlin Affair by Liliana Cavani and A Winter Tan by Jackie Burroughs provide reference strategies for the political project of «women's cinema», while Ridley Scott's Thelma and Louise is seen as a remodelled but still traditional «woman's film.
Original language | French |
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Pages (from-to) | 171-191 |
Journal | Cinémas |
Volume | 2 |
Issue number | 2-3 |
DOIs | |
State | Published - 1992 |