Alphaville: Journal of Film and Screen Media. Issue 10: Women and Media in the Twenty-First Century

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https://hdl.handle.net/10468/5578
In celebration of its tenth issue, Alphaville is proud to introduce this special issue on Women and Media as a reflection of the journal’s enduring interest in, and desire to contribute to, this dialogue. The range of articles presented in this issue offers an insight into the expanded spectrum of work by and about women in the new millennium, providing a snapshot of the multifaceted ways in which women are working and being represented across the globe. Edited by Abigail Keating and Jill Murphy, University College Cork.

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Now showing 1 - 5 of 16
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    The feminist cinema of Joanna Hogg: melodrama, female space, and the subversion of phallogocentric metanarrative
    (2015) Barrett, Ciara
    In this article, I provide a scholarly introduction to the cinema of contemporary British director Joanna Hogg that stands in direct contravention to existing auteurist and concomitantly phallogocentric critical discourses on her work. Thus I establish an alternative, feminist theoretical framework for analysis of Hogg’s films, synthesising feminist and structuralist methodologies. Via close textual analysis of each of Hogg’s three feature films, emphasising their implicit critique of phallogocentric narrativisation vis-à-vis the deployment of certain “melodramatic” conventions, I argue that the director creates a filmic space both literal and conceptual for “the female”. Significantly, this contravenes the inherently phallogocentric theoretical framework by which auteurist film criticism has (up until now) largely attempted to “package” Hogg’s work. I thus conclude the cinema of Joanna Hogg represents a subversive challenge to phallogocentric metanarrative, within which auteurist film criticism has traditionally been imbricated.
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    Decades Never Start on Time: A Richard Roud Anthology, edited by Michael Temple and Karen Smolens
    (Film and Screen Media, University College Cork, 2015) Busetta, Laura; Hurley, Marian
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    Pocahontas no more: indigenous women standing up for each other in twenty-first century cinema
    (Film and Screen Media, University College Cork, 2015) Mayer, Sophie
    Sydney Freeland’s fiction feature Drunktown’s Finest (2014) represents the return of Indigenous women’s feature filmmaking after a hiatus caused by neoconservative politics post-9/11. In the two decades since Disney’s Pocahontas (1995), filmmakers such as Valerie Red-Horse have challenged erasure and appropriation, but without coherent distribution or scholarship. Indigenous film festivals and settler state funding have led to a reestablishment, creating a cohort that includes Drunktown’s Finest. Repudiating both the figure of Pocahontas, as analysed by Elise M. Marubbio, and the erasure of Indigenous women in the new Western genre described by Susan Faludi, Drunktown’s Finest relates to both the work of white ally filmmakers of the early 2000s, such as Niki Caro, and to the work of contemporary Indigenous filmmakers working in both features (Marie-Hélène Cousineau and Madeline Ivalu of Arnait) and shorts (Danis Goulet, Elle-Máijá Tailfeathers). Foregrounding female agency, the film is framed by a traditional puberty ceremony that—through the presence of Felixia, a transgender/nádleeh woman—is configured as non-essentialist. The ceremony alters the temporality of the film, and inscribes a powerful new figure for Indigenous futures in the form of a young woman, in line with contemporary Indigenous online activism, and with the historical figure of Pocahontas.
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