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Doing Women's Film HistoryReframing Cinemas, Past and Future$
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Julia Knight and Christine Gledhill

Print publication date: 2015

Print ISBN-13: 9780252039683

Published to Illinois Scholarship Online: April 2017

DOI: 10.5406/illinois/9780252039683.001.0001

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PRINTED FROM ILLINOIS SCHOLARSHIP ONLINE (www.illinois.universitypressscholarship.com). (c) Copyright Illinois University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in ISO for personal use.date: 25 September 2021

A Major Contribution to Feminist Film History

A Major Contribution to Feminist Film History

Maria Klonaris and Katerina Thomadaki’s Cinéma corporel (Cinema of the Body)

(p.110) Chapter 7 A Major Contribution to Feminist Film History
Doing Women's Film History

Cécile Chich

University of Illinois Press

This chapter examines the centrality of the work of artistic duo Maria Klonaris and Katerina Thomadaki to the project of writing a feminist women's film history by focusing on the aesthetic and conceptual choices they made and on their thought-provoking contributions to feminist film practice. In particular, it considers Klonaris and Thomadaki's Cinéma corporel (Cinema of the Body). The chapter suggests that the female avant-garde film has, paradoxically, been marginalized by feminist film theory's focus on mainstream cinema as a site of patriarchal representation and spectatorship. It shows that Klonaris and Thomadaki's Cinéma corporel represents, for women's cinema, a strategy of dissidence. In form, content, concept, and approach, it calls for a revisitation of “film” outside the canon established in traditional film history. The chapter underscores the need to “heighten the visibility of women's contributions to traditions of formal innovation and explore how formal innovation enables women to enlarge discourses about women's subjectivity” and art.

Keywords:   female avant-garde film, Maria Klonaris, Katerina Thomadaki, women's film history, Cinéma corporel, feminist film theory, mainstream cinema, spectatorship, women's cinema, dissidence

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