Print

Print


*Call for Papers: Special Issue of Camera Obscura*

*“Women’s Film Authorship in Neoliberal Times: *

*Revisiting German Cinema and Gender”*





Contributions are sought for a special issue of *Camera Obscura* that
posits German cinema as a key site for the theorization of women’s film
authorship and feminist film production today. German cinema presents an
especially generative case study for considering women’s filmmaking in
neoliberal times because of its centrality to the development of feminist
film theory at an earlier historical moment in the 1970s. The West German
feminist film movement spearheaded by Helke Sander and Claudia von Alemann
led to an unparalleled degree of institutional and financial support for an
aesthetically and politically diverse feminist filmmaking praxis and led
Germany to become an important matrix for transnational theoretical work by
feminist film scholars including E. Ann Kaplan, Teresa de Lauretis, B. Ruby
Rich, and Kaja Silverman, among many others.

Due to political and economic change in Germany, Europe and worldwide,
including media conglomeration and the dismantling of redistributive
policies for the global free market, many of the gains of the feminist film
movement were reversed in the course of the last few decades. This has
created the context for a disavowal or simply a lack of awareness among a
younger generation of women filmmakers in Germany of their feminist
precursors. However, the rise of the Berlin School, the development of
production collectives fostering women’s film production, and the recent
call by director Maren Ade (*Toni Erdmann, *2016) for policies promoting
gender parity through quotas certainly makes the time rife for a
reconsideration of the relations between aesthetic form and the material
conditions of women’s filmmaking in Germany.

We invite contributions that address the place of German-speaking women
directors in the twenty-first century. To what extent do they share a
common focus on diverse experiences of gender, sexuality, intimacy, and the
precarity of life today? Is their work still classifiable within inherited
schema of women’s cinema as “oppositional,” “counterhegemonic,”
“subversive,” or “resistant,” and to what extent do their films enact
intersectional alliances with feminist, queer, antiheteronormative, and
antiracist projects? How might a formal allegiance to an aesthetic of
reduction and, crucially, a commitment to women’s access to the means of
production underscore the politics of their films? We encourage submissions
that consider how women directors’ involvement in all aspects of the
filmmaking process—financing, screenwriting, direction, cinematography,
editing, and distribution—represent a significant intervention into the
dire situation for women in media industries today.



Inquiries about potentially suitable topics are welcomed at any time.
Please send a 300-word abstract and brief bio by May 15, 2017, to Hester
Baer ([log in to unmask]) and Angelica Fenner ([log in to unmask]).
Manuscripts will be due by September 1, 2017. We anticipate submitting a
finalized dossier of revised essays by January 2018 for peer-review and
ensuing publication in Fall 2018.

Hester Baer
Associate Professor and Head of Germanic Studies
Core Faculty in Film Studies
School of Languages, Literatures, and Cultures
University of Maryland, College Park

*******************
The German Studies Call for Papers List
Editor: Sean Franzel
Assistant Editor: Olaf Schmidt
Sponsored by the University of Missouri
Info available at: https://grs.missouri.edu/german/resources