Product details:
| ISBN13: | 9781501347214 |
| ISBN10: | 1501347217 |
| Binding: | Hardback |
| No. of pages: | 184 pages |
| Size: | 228x152 mm |
| Language: | English |
| Illustrations: | 33 bw illus |
| 700 |
Category:
Quiet Pictures
Women and Silence in Contemporary British and French Cinema
Publisher: Bloomsbury Academic
Date of Publication: 16 May 2024
Number of Volumes: Hardback
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Long description:
Quiet Pictures approaches the films of Joanna Hogg, Lynne Ramsay, Céline Sciamma, and Lucile Hadzhalilovicthrough the lens of silence as a motif and texture.
This book takes up the question of different uses of silence in the work of these directors and how this creates a space for foregrounding innovative practices that establish new ways of looking, staring, and gazing. Sarah Artt discusses how the deliberate deployment of silence creates space for the formation of reciprocal gazes that counteract the typically gendered and binary ways in which women and femme-presenting people tend to be portrayed on screen. Quiet Pictures draws on the political legacy of feminist film theory to explore and conceptualise what it means to not just look back, but to share the gaze.
This book discusses several films, including: Unrelated (Hogg, 2007), Archipelago (Hogg, 2010), Exhibition (Hogg, 2013), The Souvenir Part I and II (Hogg, 2019 and 2021), Morvern Callar (Ramsay, 2002), We Need to Talk About Kevin (Ramsay, 2011), Innocence (Hadzhalilovic 2004), Evolution (Hadzhalilovic 2015), Waterlilies/Naissance des Pieuvres (Sciamma, 2007), Tomboy (Sciamma, 2011), Girlhood/Bande des Filles (Sciamma, 2014), Portrait of a Lady on Fire/Portrait d'une jeune fille en feu (Sciamma, 2019), and Petite Maman/Little Mother (Sciamma, 2021).
This book takes up the question of different uses of silence in the work of these directors and how this creates a space for foregrounding innovative practices that establish new ways of looking, staring, and gazing. Sarah Artt discusses how the deliberate deployment of silence creates space for the formation of reciprocal gazes that counteract the typically gendered and binary ways in which women and femme-presenting people tend to be portrayed on screen. Quiet Pictures draws on the political legacy of feminist film theory to explore and conceptualise what it means to not just look back, but to share the gaze.
This book discusses several films, including: Unrelated (Hogg, 2007), Archipelago (Hogg, 2010), Exhibition (Hogg, 2013), The Souvenir Part I and II (Hogg, 2019 and 2021), Morvern Callar (Ramsay, 2002), We Need to Talk About Kevin (Ramsay, 2011), Innocence (Hadzhalilovic 2004), Evolution (Hadzhalilovic 2015), Waterlilies/Naissance des Pieuvres (Sciamma, 2007), Tomboy (Sciamma, 2011), Girlhood/Bande des Filles (Sciamma, 2014), Portrait of a Lady on Fire/Portrait d'une jeune fille en feu (Sciamma, 2019), and Petite Maman/Little Mother (Sciamma, 2021).
Table of Contents:
Introduction: More Than Absence: Silences in the Cinemas of Joanna Hogg, Lynne Ramsay, Céline Sciamma, and Lucile Hadzhalilovic
1. Childhood, Curiosity and Compliance in Innocence, Evolution and Tomboy
2. Adolescence and Collaborative Queer Gazes in Waterlilies/Naissance des Pieuvres, and Girlhood/Bande des Filles
3. Artist-Exhibitionists and Silence as Utopian Space in Lynne Ramsay's Morvern Callar and Joanna Hogg's Exhibition
4. Sinister Silences and Mothering in Lynne Ramsay's We Need To Talk About Kevin and Lucile Hadzhalilovic's Evolution
5. Silenced Desire and Anger in Joanna Hogg's Unrelated, Archipelago and Exhibition
Afterword
Acknowledgements
References
Index
1. Childhood, Curiosity and Compliance in Innocence, Evolution and Tomboy
2. Adolescence and Collaborative Queer Gazes in Waterlilies/Naissance des Pieuvres, and Girlhood/Bande des Filles
3. Artist-Exhibitionists and Silence as Utopian Space in Lynne Ramsay's Morvern Callar and Joanna Hogg's Exhibition
4. Sinister Silences and Mothering in Lynne Ramsay's We Need To Talk About Kevin and Lucile Hadzhalilovic's Evolution
5. Silenced Desire and Anger in Joanna Hogg's Unrelated, Archipelago and Exhibition
Afterword
Acknowledgements
References
Index
