SCREEN-L Archives

August 2014, Week 4


Options: Use Monospaced Font
Show Text Part by Default
Show All Mail Headers

Message: [<< First] [< Prev] [Next >] [Last >>]
Topic: [<< First] [< Prev] [Next >] [Last >>]
Author: [<< First] [< Prev] [Next >] [Last >>]

Print Reply
Kiva Reardon <[log in to unmask]>
Reply To:
Film and TV Studies Discussion List <[log in to unmask]>
Sat, 23 Aug 2014 11:48:08 -0400
text/plain (32 lines)
Hi, all!

It is with much excitement that we introduce the LABOUR issue of cléo, a
journal of film and feminism:

Drawing inspiration from a theme that conjures up visions of childbirth,
work and uphill tasks, issue 2 of our second volume features pieces and
discussions that touch on topics as varied as its guiding motif suggests.

Sophie Mayer brings us an essay on the art of feminist film work and
feminine time; Esther Berry looks at the global labour trade in *Hair
India; *Adam Nayman presents his take on the late Michael Glawogger's *Whores’
Glory; *Jemma Desai discusses conversation and connection in *Butter on the
Latch; *managing editor Julia Cooper reveals hidden body politics in the
‘90s classic *Junior;* and founding editor Kiva Reardon looks at labouring
identities in James Gray’s *The **Immigrant*.

Legendary documentarian Alanis Obomsawin and British filmmaker Clio Barnard
also sit down to talk with *cléo* for this issue, and we are delighted to
premiere our first-ever roundtable discussion focusing on Gillian
Robespierre's “family planning” rom-com *Obvious Child*.

Kiva Reardon
@kiva_jane <> // @cleojournal

Online resources for film/TV studies may be found at ScreenSite