Titlebook: British Women Film Directors in the New Millennium; Stella Hockenhull Book 2017 The Editor(s) (if applicable) and The Author(s) 2017 Briti

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Introduction,ir output at a time of significant change within the UK film industry. Its focus is from 2000 to the present, when the number of women directors working within the film industry rose substantially for a short period of time, although it is acknowledged that there were notable female filmmakers worki

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Women Directors and Documentary Cinema,men demonstrate skill by taking on large-scale topics, from environmental activism, to documenting societal and cultural change, to controversial takes on inner-city life, and they explore them through intimate, relatable narratives. Furthermore, they reinforce their allegiance to their beliefs by f

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Women Directors and Poetic Realism,m, sharing its codes and conventions. However, they also demonstrate that a large number of female-directed films deal with socio-political issues and, more often than not, present them in idiosyncratic ways and through a sumptuous visual style in order to emphasise an argument. These films raise se

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Alternatives to Mainstream and Classic Modes of Narration,erimental filmmaking encourages a relationship with cinema which is active rather than passive. As part of the process of self-inscription, the filmmakers offer a personal aspect to their films, appearing as actor or voice-over, or working with autobiographical content. Sometimes they traverse borde

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https://doi.org/10.1007/978-3-8349-9298-7r, offers the spectator poetic images of the landscape imbued with ulterior meaning as evocative of a sense of loss experienced by the characters. In . Asante’s style tallies with Clio Barnard’s imagery in . to create an aesthetic affect which is image rather than dialogue led, yet conveys informati