This book, like its twin volume Female Authorship and Documentary Strategies, centres on pressing issues in relation to female authorship in contemporary documentary practices. Addressing the politics of representation and authorship both behind and in front of the camera, a range of international scholars now expand the theoretical and practical framework informing the current scholarship on documentary cinema, which has so far neglected questions of gender. Female Authorship and the Documentary Image engages with the relationship between female documentary filmmakers and the documentary image. With a thematic focus on the documentary image directly, within the more traditional arenas of theory and practice and especially within the context of gaze and author theory, the book also considers more philosophical questions of aesthetics, home and identity within the contexts of female subjectivity, globalisation and trauma. The book also includes a dialogue on two key photographers, Hannah Wilke and Jo Spence, as well as an interview with Taiwanese documentary filmmakers Singing Chen and Wuna Wu. ; Addressing the politics of representation and authorship both behind and in front of the camera, a range of international scholars explore the pressing issues in relation to female authorship in contemporary documentary practices. ; Preface by Belinda Smaill Introduction by Boel Ulfsdotter and Anna Backman Rogers Section one: DOCUMENTARY PRACTICESChapter 1: LISA FRENCH: "Women in the Director’s Chair: The Female Gaze in Documentary Film"Chapter 2: ELIZABETH COFFMAN AND ERICA STEIN: "New Day Films: Collective Aesthetics and the Collection"Chapter 3: SHARON DANIEL: "The Female Auteur and Voice: A Personal Context"Interview: "The Final Projects of Hannah Wilke and Jo Spence": A dialogue between Elena Crippa and Anna Backman Rogers Section two: DOCUMENTARY THEORIESChapter 4: GABRIELLE MCNALLY: "The Feminist Voice: Improvisation in Women’s Autobiographical Filmmaking"Chapter 5: RONA MURRAY: "Speaking About or Speaking Nearby? Documentary Practice and Female Authorship in the films of Kim Longinotto"Chapter 6: APARNA SHARMA: "A Politics of Nearness: Uses of Montage and Haptics in Documenting Cultural Experiences of Communities of India" Section three: FEMALE AUTHORSHIP AND GLOBAL IDENTITIESChapter 7: ANNELIES VAN NOORTWIJK: "The Other, The Same: Towards a Metamodern Poetics with Heddy Honigmann"Chapter 8: BOEL ULFSDOTTER: "The Memories of Belleville Baby: Autofiction as Evidence"Chapter 9: SOPHIE MAYER: "To::For::By::About::With::From:: Towards Solid Women: On (not) Being Addressed by Tracey Moffatt’s Moodeijt Yorgas"Chapter 10: WAKAE NAKANE: "Constructing an Intimate Sphere Through Her Own Female Body: Naomi Kawase’s Documentary Films"Chapter 11: CATHERINE SUMMERHAYES: "Celebrity/Activist/Photographer: Mia Farrow"Interview: "Being a Woman Documentary Maker in Taiwan": An interview with Singing Chen and Wuna Wu, by Chris Berry
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Boel Ulfsdotter is an independent fine arts scholar specialised in screen studies, currently affiliated with the Department of Cultural Sciences at the University of Gothenburg, Sweden.; Anna Backman Rogers is a Senior Lecturer in Film Studies at the University of Gothenberg, Sweden.