Abstract
The author calls for continuity and continuation of the study of women’s cinema. Attention is drawn to the blurring of memory and even erasing women from the history of national film industries. They are not recognised as authors, while the history of cinema has been subject to the concept of the auteur film-maker. The filmmakers are made through the commitment and work of film critics and then cinema historians. The expert does not hide the fact that those relationships are strengthened by bonds of friendship, without the fear of being accused of having a lack of objectivity, and are often associated with the support of the author on the international festival circuit. The author calls for ‘watching across borders’, i.e. a supranational approach to the study of women’s cinema. Crossing the borders of national cinemas, in which the authors have not been recognised, allows a broader perspective to see the critical mass of the authors of world cinema. Politically, for the feminist cause, it is better to talk about European women’s cinema. Iordanova selects from the history of Central and Eastern European cinema, the names of authors who did not receive due attention. Moreover, she proposes specific inclusive and corrective feminist practices: the inclusion of filmmakers in the didactics, repertoires of film collections and festival selections; a commitment to self-study by watching at least one woman’s film a week.
Highlights
The author calls for continuity and continuation of the study of women’s cinema
Attention is drawn to the blurring of memory and even erasing women from the history of national film industries
They are not recognised as authors, while the history of cinema has been subject to the concept of the auteur film-maker
Summary
If one asks who are the women in the history of cinema, one usually draws a blank. Plenty of actresses, but directors? One can normally name one or two female directors from one’s national tradition but it is extremely difficult to name women who made films in other countries. The non-Poles are more likely to be able to name Wajda, Zanussi, Pawlikowski, Machulski, even Polanski – but will not normally know the names of the women After all, this is how film histories are written – following the careers of a handful of male ‘auteurs’. I will only focus on one, which l have been observing for a while: women do not seem to be recognised as cinematic ‘auteurs’ as much as men are, yet it is around ‘auteurs’ that cinema history is still generally written about and studied It is around ‘auteurs’ that film critics often cover the cinemas of smaller countries. One certainly cannot demand that famous critics befriend great female directors and follow their work to give them the status of ‘auteurs’ in continuous coverage. It is important to acknowledge that the lack of systematic and ongoing appreciation actively diminishes the potential achievements of women
Sign-in/Register to view highlights & summary Sign-in/Register to access full text options 
Free) 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a call
