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In Sisters on Screen, Eva Rueschmann explores the sister bond in a wide range of modernist feature films that depart from the conventional cinematic rendering of women's lives. Drawing on the psychoanalytic concept of inter-subjectivity, this book emphasizes the role of a woman's relationship and inner world in her continual quest for self-knowledge. The book includes in-depth discussions of An Angel at My Table, Double Happiness, Eve's Bayou, Gas Food Lodging, Heavenly Creatures, Little Women, Marianne and Julianne, Paura e amore, Peppermint Soda, The Silence, Sweetie, and Welcome to the Dollhouse.
Table des matières
Acknowledgments Introduction Part I: Sisters as Artists in the Cinematic Kunstlerroman 1. The Romance of Sisterhood: Little Women and Popular Nostalgia in Contemporary Women's Cinema 2. An Angel at My Table: Sisters, Trauma, and the Making of an Artist as a Young Woman Part II: negotiating Sameness and Difference: Sisters in Adolescence 3. Sororal Rites of Passage: Peppermint Soda, Gas Food Lodging, and Welcome to the Dollhouse 4. Sisters, Fathers, and the Modern Ethnic Family: Double Happiness and Eve's Bayou 5. Sororophilia and Matricide: Shared Fantasies in Heavenly Creatures and Sister My Sister Part III: Loss, Memory, Recognition: Sisters in Adulthood 6. The Internal World of sisters: Ingmar Bergman's The Silence and Cries and Whispers 7. The Politics of Intersubjectivity: The Sister Films of Margarethe von Trotta Conclusion Appendix: Filmography Notes Index
Résumé
Explores the sister bond in a wide range of modernist feature films that depart from the conventional cinematic rendering of women's lives. This book emphasizes the role of a woman's relationship and inner world in her continual quest for self-knowledge and draws upon the works of filmmakers from the 1970s to the 1990s.
