Titlebook: Visions of Struggle in Women‘s Filmmaking in the Mediterranean; Flavia Laviosa Book 2010 Palgrave Macmillan, a division of Nature America

FEAS

2752-3209 countries in the Mediterranean rim, this book spurs a contemporary discussion of women s human, civil, and social rights while situating feminist arguments on women s identity, roles, psychology and sexuality. Although their methodologies are diverse, these artists are united in their use of cinema

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Take My Eyesg what in the past might have been unthinkable or certainly unacceptable. Spanish directors have sought to startle, to excite, and to break with the stifling traditions that had shackled creative freedom and impeded progress, social change, and experimentation under the repressive regime of Francisco Franco (1936–1975).

Trigger-Point

Mutilating and Mutilated Bodies: Women’s Takes on “Extreme” French Cinemaopular genres such as comedy, costume drama, crime fiction, and the road movie, evident in box office successes such as Nicole Garcia’s . (1998), Tonie Marshall’s . (1999), and Agnès Jaoui’s . (2004).

斜谷

My Terrorist , My Land Zionmic to the country’s formation of a national identity and is intimately linked to its continuing conflict with the Arab world in general and the Palestinians in particular. I analyze these contradictions by closely studying two documentary films, . (Yulie Cohen-Gerstel, Israel, 2002) and . (Yulie Co

aristocracy

Anthropological Anxieties: Roberta Torre’s Critique of Mafia Violence whose previous experience was in documentaries and short subjects. While the film’s flamboyant aesthetics and grotesque humor won rave reviews, a small number of dissenting voices took objection to its lighthearted approach to Mafia violence. . thus marked the director’s emergence as an innovative

火海

肉體

Maria, Irene and Olga “à la recherche du temps perdu …”cters. Films such as . . by Olga Malea (2000), . . (2001) by Antouanetta Angelidi, . (2002) by Kleoni Flessa, and . by Eleni Alexandrakis (2004) all present stories of modern women struggling with professional self-realization and personal fulfillment.

世俗

Hard to Bear: Women’s Burdens in the Cinema of Ye?im Ustao?luave been virtually taboo in mass media such as film. Liberal Turks consider the diversity of other nationalities and ethnic groups to be enriching, but right-wing conservatives have often found “otherness” to be threatening, particularly when linked to past hostilities. Women directors are among the

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Visions of Struggle in Women‘s Filmmaking in the Mediterranean

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