Katarzyna Paszkiewicz lectures in the English Studies Department at the University of Barcelona.
Genre, Authorship and Contemporary Women Filmmakers is a
challenging, complex and critically intelligent work. It offers new
perspectives on the cinema�s fraught relationship with women
directors and their significant contribution to popular genre
cinema from the war and horror film to the western and biopic. An
important addition to feminist film theory, Paszkiewicz's book is
essential reading for anyone interested in the most recent debates
around gender, genre and the achievement of women
filmmakers.'--Professor Barbara Creed, The University of Melbourne,
author of The Monstrous-Feminine: Film, Feminism,
Psychoanalysis
Interested in the relationship been genre and gender, Paszkiewicz
proposes that genre is both constricting and liberating for female
filmmakers. She examines recent films directed by female auteurs in
genres considered "male" Jennifer's Body (2009), a horror film
directed by Karyn Kusama; The Hurt Locker (2008), a war film by
Kathryn Bigelow; Meek's Cutoff (2010), a western by Kelly
Reichardt; Marie Antoinette (2006), a costume drama by Sofia
Coppola; and The Intern (2015), a romantic comedy by Nancy Meyers.
Each of these women demonstrates not only an encyclopedic knowledge
of the genre in which she is working but also a willingness to play
with and on the conventions of the genre, imbuing it with a
feminine perspective. Paszkiewicz's own knowledge, both of genres
and of the scholarly literature on the subject, is equally
encyclopedic, and one would say that she has mastered her own
particular genre--the academic theoretical essay.'--W. A. Vincent,
Michigan State University "CHOICE"
Katarzyna Paszkiewicz 's book on Genre, Authorship and Contemporary
Women Filmmakers is a meticulously researched and detailed analysis
of women's cinema, a study field that so far has hardly received
booklength attention by film and cultural critics. The writer
compellingly explores the strategies of women auteurs who create
genre films that deviate from what are stereotypically defined as
"women's films". Paszkiewicz contextualizes these films in a wide
array of aesthetic, political, theoretical and commercial issues
and displays how a dialogical and interactive relationship is also
possible between feminist film scholars and women
filmmakers.--Honorable Mention "Esse Book Awards 2020"
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