Incomplete: The Feminist Possibilities of the Unfinished Film

This collection highlights the value of unfinished film projects for feminist film and media studies by utilizing them as a unique site to explore the lived experiences, practical conditions, and institutional realities of women's film production. It emphasizes the importance of recovering and studying these projects, which have been marginalized in film industries and scholarship, and showcases how feminist filmmakers have embraced incompletion as an aesthetic strategy.

Format: Hardback
Length: 374 pages
Publication date: 06 June 2023
Publisher: University of California Press

This groundbreaking collection establishes abandoned, interrupted, lost, or open-ended film projects as rich and underappreciated resources for feminist film and media studies. In meticulously researched and artistically conceived chapters, scholars join forces with film practitioners to approach the unfinished film as an ideal site for revealing the lived experiences, practical conditions, and institutional realities of women's film production across historical periods and national borders. Incomplete reclaims projects and practices marginalized in film industries and scholarship, while also showcasing how feminist filmmakers have cultivated incompletion as an aesthetic strategy. Objects of loss and possibility, incomplete films raise profound historiographical and ethical questions about the always unfinished project of film history, film spectatorship, and film studies.

Introduction:
In the realm of film and media studies, the unfinished film has emerged as a fascinating and underappreciated resource. These projects, whether abandoned, interrupted, lost, or open-ended, hold immense potential for exploring the lived experiences, practical conditions, and institutional realities of women's film production across historical periods and national borders. This collection, therefore, aims to establish incomplete films as rich and valuable resources for feminist film and media studies.

Chapter 1:
In the opening chapter, scholars delve into the historical context of unfinished films and their significance in feminist film and media studies. They argue that these projects often represent the marginalized voices and experiences of women filmmakers, who have been historically excluded from the mainstream film industry. By studying these unfinished films, scholars can gain a deeper understanding of the struggles and challenges faced by women in the industry and the ways in which they have creatively responded to these obstacles.

Chapter 2:
In the second chapter, film practitioners join forces with scholars to explore the unfinished film as a site for revealing the lived experiences, practical conditions, and institutional realities of women's film production. They discuss the challenges and opportunities that arise when working with incomplete films, such as the need for creative improvisation and the potential for new meanings and interpretations to emerge. Film practitioners share their insights and experiences in working with these projects, providing valuable perspectives and insights into the creative process.

Chapter 3:
In the third chapter, scholars examine the aesthetic strategies employed by feminist filmmakers to cultivate incompletion as an aesthetic strategy. They explore how feminist filmmakers have used unfinished films to challenge traditional storytelling conventions, subvert patriarchal narratives, and explore the complexities of female identity and representation. By analyzing the visual, narrative, and symbolic elements of incomplete films, scholars can gain a deeper understanding of the feminist filmmaking movement and its contributions to the broader field of film and media studies.

Conclusion:
In conclusion, this collection establishes unfinished film projects as rich and underappreciated resources for feminist film and media studies. By engaging with these projects through scholarly research and creative collaboration, scholars and film practitioners can gain a deeper understanding of the lived experiences, practical conditions, and institutional realities of women's film production. Incomplete films also raise profound historiographical and ethical questions about the always unfinished project of film history, film spectatorship, and film studies, prompting us to reevaluate our understanding of these fields and their relationship to women's experiences.

Weight: 714g
Dimension: 157 x 237 x 29 (mm)
ISBN-13: 9780520381469