Cinematic Howling presents a refreshingly unorthodoxframework for feminist film studies. Instead of criticizing mainstreammovies from feminist perspectives, Hoi Cheu focuses on women'sfilmmaking itself. Integrating systems theory and feminist aestheticsin his close readings of films and screenplays by women, he considershow women engage the process of storytelling in cinema. The importanceof these films, he argues, is not merely that they reflectwomen's perceptions, but that they have the power to reframeexperiences and, consequently, to transform life.
A major contribution to feminist scholarship that will appeal toscholars of both gender and film, Cinematic Howling is writtenin an approachable and inviting style, full of vivid examples andattention to detail, which will suit both undergraduate and graduatecourses in gender, film, and cultural studies.
Hoi F. Cheu teaches film theory and applied mediaaesthetics at Laurentian University, where he is the Director of theCentre for Humanities Research and Creativity.
Acknowledgments 1 Feminist Film Theory and the Postfeminist Era: Disney'sMulan 2 Howling for Multitudes: Angela Carter's The Company ofWolves 3 The Female Authorial Voice: Marguerite Duras' Hiroshimamon amour 4 Beyond Freud and Lacan: Susan Streitfeld's FemalePerversions 5 Cathartic Meta-narrative: Lea Pool's Lost andDelirious and Barbara Sweet's Perfect Pie (TwoScripts by Judith Thompson) 6 Diasporic Imagination and Transcultural Identity: Clara Law'sThe Goddess of 1967 7 Representing Representation: Agnes Varda's Sans toit niloi (Vagabond) 8 From Text to Context: Metadocumentary and Skyworks 9 Filling the Theory Vacuum: Marleen Gorris'Antonia Notes Bibliography Index