Cinematic Howling presents a refreshingly unorthodox
framework for feminist film studies. Instead of criticizing mainstream
movies from feminist perspectives, Hoi Cheu focuses on women's
filmmaking itself. Integrating systems theory and feminist aesthetics
in his close readings of films and screenplays by women, he considers
how women engage the process of storytelling in cinema. The importance
of these films, he argues, is not merely that they reflect
women's perceptions, but that they have the power to reframe
experiences and, consequently, to transform life.
A major contribution to feminist scholarship that will appeal to
scholars of both gender and film, Cinematic Howling is written
in an approachable and inviting style, full of vivid examples and
attention to detail, which will suit both undergraduate and graduate
courses in gender, film, and cultural studies.
Hoi F. Cheu teaches film theory and applied media aesthetics at Laurentian University, where he is the Director of the Centre for Humanities Research and Creativity.
Acknowledgments 1 Feminist Film Theory and the Postfeminist Era: Disney's Mulan 2 Howling for Multitudes: Angela Carter's The Company of Wolves 3 The Female Authorial Voice: Marguerite Duras' Hiroshima mon amour 4 Beyond Freud and Lacan: Susan Streitfeld's Female Perversions 5 Cathartic Meta-narrative: Lea Pool's Lost and Delirious and Barbara Sweet's Perfect Pie (Two Scripts by Judith Thompson) 6 Diasporic Imagination and Transcultural Identity: Clara Law's The Goddess of 1967 7 Representing Representation: Agnes Varda's Sans toit ni loi (Vagabond) 8 From Text to Context: Metadocumentary and Skyworks 9 Filling the Theory Vacuum: Marleen Gorris' Antonia Notes Bibliography Index