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Since the 1980s the number of women regularly directing films has increased significantly in most Western countries: in France, Claire Denis and Catherine Breillat have joined Agnes Varda in gaining international renown, while British directors Lynne Ramsay and Andrea Arnold have forged award-winning careers in feature film. This new volume in the Thinking Cinema series draws on feminist theorists and critics from Simone de Beauvoir on to offer readings of a range of the most important and memorable of these films from the 1990s and 2000s, focusing as it does so on how the films convey women's lives and identities.Mainstream entertainment cinema traditionally distorts the representation of women, objectifying their bodies, minimizing their agency,and avoiding the most important questions about how cinema can 'do justice' to female subjectivity: Kate Ince suggests that the films of independent women directors are progressively redressing the balance, and thereby reinvigorating both the narratives and the formal ambitions of European cinema. Ince uses feminist philosophers to cast a new veil over such films as Sex Is Comedy, Morvern Callar, White Material, and Fish Tank; and includes a timeline ofdevelopments in women's film-making and feminist film theory from 1970 to 2011.

Women in motion pictures. --- Motion pictures --- Women motion picture producers and directors --- Feminist films --- Feminism and motion pictures --- Feminism and motion pictures. --- Feminist films. --- Motion pictures. --- Women motion picture producers and directors. --- History and criticism. --- France. --- Great Britain. --- France --- Great Britain --- Motion pictures and feminism --- Feminist cinema --- Feminist motion pictures --- Women's liberation films --- Women moving-picture producers and directors --- Motion picture producers and directors --- Women in the motion picture industry --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- History and criticism --- Feminism --- Movie review --- Viewing habits --- Body --- Language use --- Theory --- Book

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Auteur theory (Motion pictures). --- Motion picture producers and directors --- Motion pictures

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Human physiology --- Surgery --- Art --- Artists --- Body --- Plastic surgery --- Book --- Orlan --- France

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Since 2007 Mia Hansen-Løve has directed a series of meditative film dramas about families, love, vulnerability and growing up, all of them exceptionally attentive to film’s ability to convey the passing of time, separation and loss. As the first book-length study of the films of Mia Hansen-Løve, this volume introduces her cinema to both an academic and a general readership. Exploring her move from acting, via criticism, to directing, the book first investigates the complexity of her situation as a female auteur based in France. With detailed readings of her films up to Maya (2018), it then examines the precariousness of their families, their emphasis on vulnerability, failure, adversity and resilience, the particular candour of Hansen-Løve’s filming style, and the vital parts played by music and time in her cinema. It concludes that her cinema may best be regarded as a thoroughly contemporary one, distinguished by a tendency to transcendence that is both ethical and aesthetic

Women motion picture producers and directors --- Motion pictures in literature --- Hansen-Løve, Mia, --- Criticism and interpretation.

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As the first book-length study of the films of Mia Hansen-Love, this volume introduces her cinema to both an academic and a general readership.

Families in motion pictures. --- Love in motion pictures. --- Hansen-Løve, Mia,