AFTERWORD
A number of factors came together by the first decade of the twenty- first cen-
tury to articulate gender and cinema with geopolitics in new ways. During
this period, training opportunities expanded; transnational financing for art
cinema reached more women directors in more countries; costs of feature
film production decreased with digital technologies; festival economies—
of taste as well as sales—proliferated; and cinephilic criticism and digital
streaming exploded on the Internet. Documentary’s prestige and institu-
tional supports increased worldwide, accessing political formations and
forms of creative labor in which women and feminism flourished. While
U.S.- dominated postfeminist popular culture consolidated its hegemony,
women and girls became targets of national and international develop-
ment discourses, affecting the content of films as well as opportunities for
women in media making. Starting from and analyzing the U.S. art house
as a reception context, this book has argued for an updated, transnational
concept of women’s cinema that makes visible feminist countercurrents
within the neoliberal context behind many of these changes.
Each case study has ranged from close reading to global claims, and it
is time to take the measure of these travels. I have attempted to track the
systems of value that position the films encountered in the North Ameri-
can art house–academy– feminist public sphere and to detail the histori-
cal, cultural, and aesthetic contexts from which those films emerge. I have
argued that gender informs not only the images and stories on screen but
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