Female Authorship and the Documentary Image

This book, like its twin volume Female Agency and Documentary Strategies, centres on pressing issue in relation to female authorship in contemporary documentary practice. Addressing the politics of representation and authorship both behind and in front of the camera, a range of international scholars now expand the theoretical and practical framework informing the current scholarship on documentary cinema, which has so far neglected questions of gender. Female Authorship and the Documentary Image engages with the relationship between female documentary filmmakers and the documentary image. With a thematic focus on the documentary image directly, within the more traditional arenas of theory and practice, and especially within the context of gaze and author theory, the book also considers more philosophical questions of aesthetics, home and identity within the contexts of female subjectivity, globalisation and trauma. In addition, the book includes a dialogue on two key photographers, Hannah Wilke and Jo Spence, as well as an interview with Taiwanese documentary filmmakers Singing Chen and Wuna Wu.

Representations of translators in popular culture

The “fictional turn” in translation studies has acknowledged the fact that translators/interpreters have been moved from behind the curtain to center stage. Whether this is a result of poststructuralist or postcolonial scholarship, the fact remains that translators/interpreters now figure as protagonists in film, theater, and especially popular literature. Does this “promotion” reflect a change of status? How are translators portrayed? How is their habitus portrayed? What function do they serve? Has there been a change in their portrayal/function in the last thirty years? Does the change reflect the different approach/es to the “hybrid” in this period? Has the “death of the author” theory and the promotion of translators/interpreters to the status of “authorship” changed their self-image? This essay is an attempt at answering these questions, diachronically and synchronically, with the help of various literary texts from the 1970s on.

Grønlande og det moderne gennembruds mand

Georg Brandes’ betydninger i Henrik Pontoppidans Lykke-Per, Grønlands i IsbjørnenGreenlands and man of the modern break-throughLykke-Per and Isbjørnen by Henrik Pontoppidan both seem to contain the author’s opinions on Georg Brandes and Greenland wrapped in fiction. By way of author theory and postcolonial criticism this article argues, however, that the two novels have no narratological or ideological central perspective. They are perhaps best understood as montages of discourses on Brandes and Greenland.