One of the leading voices in cultural studies today examines the habits of British cinema audiences in the 1930s to reveal the role that cinema played in shaping their lives.
In this book, the author turns her attention to the deconstruction of pictures closer to home - photographs from her own childhood and images from her shared ethnographic past - to trace a trajectory from personal to collective acts of memory.
The author charts the developments in feminist film theory, drawing on both recent and classic films, from the mainstream and alternative cinema. She also attempts to demystify current methods of analysis, including semiotic and psychoanalytical approaches.
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