Stefanie Van De Peer
Biographic Data
| ID | 642917 |
|---|---|
| NAME | Stefanie Van De Peer |
| GIVEN NAMES | Stefanie |
| FAMILY NAME | Van De Peer |
| SIGNATURE | VAN DE PEER S |
| AFFILIATIONS | University of Stirling |
| ORCID | 0000-0003-3152-2912 |
| VERIFIED | Yes |
| TOTAL WORKS | 20 |
| TOTAL CITATIONS | 14 |
| WORKS AS AUTHOR | 19 |
| WORKS AS EDITOR | 1 |
| FIRST PUBLICATION YEAR | 2010 |
| LATEST PUBLICATION YEAR | 2023 |
| H-INDEX | 2 |
ReFocus
Filmmaking in Palestine is fractured by war, disaster,oppression and insurgency – and remains largely unrecorded officially, shrouded in taboos and sensationalism. It is defined by exile and by the requirement for permits to enter the Palestinian territories, thus portraying the Palestinian stories in fragmentary ways. To make films under such limiting conditions requires dissent and creativity. Annemarie Jacir is one of those bold and creative f…
ReFocus: The Films of Jocelyne Saab
Jocelyne Saab was one of the most important female filmmakers pioneering a sense of international emancipatory world cinema from early 1970s to her death in 2019. This book is the first English-language study dedicated to her entire oeuvre which consisted of journalism, documentaries, experimental and feature films, as well as photography, art exhibitions and curation and film festival organisation. In this book, a range of international scholars…
ReFocus
ReFocus
Offers the first study about Jocelyne Saab (1948-2019), a Lebanese pioneer of Arab cinema Offers a cohesive study of her oeuvre, both filmic, activist and artistic Positions Saab’s work as central to the development of world cinema, and not only in the Arab world Provides a comprehensive and fresh study of her work, bringing together scholars from across the globe Jocelyne Saab was one of the most important female filmmakers pioneering a sense of…
Nights and Anime
Anthologising folktales from across the Middle East and North Africa, the inherently transnational 1001 Nights has become one of the most adapted works in the history of folklore (Zipes et al. 2015). The tales have been adapted globally into works ranging from literature to theatre, from radio to film and animation. The animated versions of the tales in particular, refer to some of the earliest feature films in animation history and have been the…
ReFocus
Dan Bashara, Cartoon Vision
While animation studies has boomed over the past few years, gaining mainstream scholarly attention, the focus has nevertheless remained on technological specificities of the form, and on the ways in which its consumption and study are inherently different from those of live-action filmmaking. The current prevalence of history books within animation studies reveals something about its acceptance within film studies more broadly. Both books under r…
Women in African Cinema
Women in African Cinema: Beyond the Body Politic showcases the very prolific but often marginalised presence of women in African cinema, both on the screen and behind the camera. This study provides the first in-depth and sustained study of women in African cinema. Films by women from different geographical regions are discussed in case studies that are framed by feminist theoretical and historical themes, and seen through an anti-colonial, philo…
Selma Baccar
This chapter discusses a controversial icon of women in Tunisia, Selma Baccar, Tunisia’s first lady of filmmaking, an instigator and a fiercely independent woman still celebrated for her films and politics. Her first film Fatma 75 (1975) carried an intricately political statement of feminist defiance. The film looks at the time of independence and the subsequent struggle for women to gain their rights under the first president, Habib Bourguiba. T…
Izza Génini
This case study looks at a much overlooked and ignored filmmaker from Morocco, Izza Génini: the first woman to be truly dedicated to making documentaries in a country where documentaries were actively discouraged. Morocco’s political, economic, cultural and social devastation during the Years of Lead in the eighties determined censorship and prevented any sort of filmmaking for a long time. People were disappeared or killed by government spies, a…
Assia Djebar
Assia Djebar (1936Djebar ( -2015) ) is one of the most famous Algerian women authors in history. In this chapter I focus on the only two films she ever made, in the late 1970s and early 1980s, one of which is hardly ever mentioned while the other is revered as a feminist masterpiece of psychoanalytic treatment of historic trauma. Djebar was born Fatima-Zohra Imalayen on 4 August 1936 in Cherchell, a small Berber city in Chenoua, the mountainous r…
Negotiating Dissidence
In spite of harsh censorship, conservative morals and a lack of investment, women documentarists in the Arab world have found ways to subtly negotiate dissidence in their films, something that is becoming more apparent since the ‘Arab Revolutions’. In this book, Stefanie Van de Peer traces the very beginnings of Arab women making documentaries in the Middle East and North Africa (MENA), from the 1970s and 1980s in Egypt and Lebanon, to the 1990s …
Negotiating Dissidence
In spite of harsh censorship, conservative morals and a lack of investment, women documentarists in the Arab world have found ways to subtly negotiate dissidence in their films, something that is becoming more apparent since the ‘Arab Revolutions’. In this book, Stefanie Van de Peer traces the very beginnings of Arab women making documentaries in the Middle East and North Africa, from the 1970s and 1980s in Egypt and Lebanon, to the 1990s and 200…
Sympathy for the Other
In this article we explore how female sympathy and solidarity can be forged between transnational subjects and spectators. In particular, we place cinematic depictions of minority female suffering in the contexts of current feminist and postcolonial praxes. The aim is to demonstrate the ways in which world cinema can produce a transnational feminist solidarity through forms and narratives that reflect the experiences of women as gendered postcolo…
Fragments of War and Animation
In this article, the author addresses the meaning of animated fragments in documentary films. She analyzes a Syrian and a Lebanese film, and illustrates the role and function of the hybrid form as a means through which women are now able to express themselves. Dahna Abourahme’s film Ein El Hilweh: Kingdom of Women (Lebanon, 2010) and Soudade Kaadan’s film Damascus Roofs: Tales of Paradise (Syria, 2010) are used as recent examples of documentaries…
The Moderation of Creative Dissidence in Syria
The documentary camera in Syria is emerging as one of the most powerful tools in raising awareness during this current revolution. While foreign media have been banned from the country, revolutionaries and ordinary Syrians are capturing events and people on their small digital and other cameras in order to testify about their struggle. This attests to the power of the image and to the political effectiveness of the documentary. This article brief…
A transnational feminist rereading of post-Third Cinema theory
The pioneering women making documentaries in the Maghreb – Selma Baccar, Assia Djebar, and Izza Génini – started their careers in the 1970s and 1980s. Their formative years as artists were rooted in an era in which global social movements took to the streets. Two vital manifestoes on film in the Third World and in the Arab world appeared in this context at the end of the 1960s. It is in this light that the early documentaries by Selma Baccar, Ass…
The Physicalities of Documentaries by African Women
An encounter with the doyenne of Tunisian film, Selma Baccar
Selma Baccar was the first woman to make a feature film in Tunisia, in the late 1970s. In correspondence with a worldwide interest in new forms of cinema and a postcolonial preoccupation with (self-) representation, Baccar found new creative ways of expressing and representing the Tunisian woman and her role in society. While the postcolonial Tunisian society, led by President Habib Bourguiba, was by then known for its modern view on politics and…
Selma Baccar's Fatma 1975
Selma Baccar's Fatma 1975:at the crossroads between Third Cinema and New Arab Cinema Stefanie Van de Peer When Selma Baccar released Fatma 75, her first feature film and the first documentary in Tunisia by a woman, in 1975, two vital manifestoes on film in the Third World and in the Arab world had already appeared a few years earlier. The Third Cinema Manifesto by Solanas and Getino had influenced militant cinema in previously colonized areas whi…
Women in African Cinema
Women in African Cinema: Beyond the Body Politic showcases the very prolific but often marginalised presence of women in African cinema, both on the screen and behind the camera. This study provides the first in-depth and sustained study of women in African cinema. Films by women from different geographical regions are discussed in case studies that are framed by feminist theoretical and historical themes, and seen through an anti-colonial, philo…
Negotiating Dissidence
In spite of harsh censorship, conservative morals and a lack of investment, women documentarists in the Arab world have found ways to subtly negotiate dissidence in their films, something that is becoming more apparent since the ‘Arab Revolutions’. In this book, Stefanie Van de Peer traces the very beginnings of Arab women making documentaries in the Middle East and North Africa, from the 1970s and 1980s in Egypt and Lebanon, to the 1990s and 200…
Sympathy for the Other
In this article we explore how female sympathy and solidarity can be forged between transnational subjects and spectators. In particular, we place cinematic depictions of minority female suffering in the contexts of current feminist and postcolonial praxes. The aim is to demonstrate the ways in which world cinema can produce a transnational feminist solidarity through forms and narratives that reflect the experiences of women as gendered postcolo…
A transnational feminist rereading of post-Third Cinema theory
The pioneering women making documentaries in the Maghreb – Selma Baccar, Assia Djebar, and Izza Génini – started their careers in the 1970s and 1980s. Their formative years as artists were rooted in an era in which global social movements took to the streets. Two vital manifestoes on film in the Third World and in the Arab world appeared in this context at the end of the 1960s. It is in this light that the early documentaries by Selma Baccar, Ass…
Selma Baccar's Fatma 1975
Selma Baccar's Fatma 1975:at the crossroads between Third Cinema and New Arab Cinema Stefanie Van de Peer When Selma Baccar released Fatma 75, her first feature film and the first documentary in Tunisia by a woman, in 1975, two vital manifestoes on film in the Third World and in the Arab world had already appeared a few years earlier. The Third Cinema Manifesto by Solanas and Getino had influenced militant cinema in previously colonized areas whi…
The Physicalities of Documentaries by African Women
Selma Baccar's Fatma 1975
Selma Baccar's Fatma 1975:at the crossroads between Third Cinema and New Arab Cinema Stefanie Van de Peer When Selma Baccar released Fatma 75, her first feature film and the first documentary in Tunisia by a woman, in 1975, two vital manifestoes on film in the Third World and in the Arab world had already appeared a few years earlier. The Third Cinema Manifesto by Solanas and Getino had influenced militant cinema in previously colonized areas whi…
The Physicalities of Documentaries by African Women
An encounter with the doyenne of Tunisian film, Selma Baccar
Selma Baccar was the first woman to make a feature film in Tunisia, in the late 1970s. In correspondence with a worldwide interest in new forms of cinema and a postcolonial preoccupation with (self-) representation, Baccar found new creative ways of expressing and representing the Tunisian woman and her role in society. While the postcolonial Tunisian society, led by President Habib Bourguiba, was by then known for its modern view on politics and…
The Moderation of Creative Dissidence in Syria
The documentary camera in Syria is emerging as one of the most powerful tools in raising awareness during this current revolution. While foreign media have been banned from the country, revolutionaries and ordinary Syrians are capturing events and people on their small digital and other cameras in order to testify about their struggle. This attests to the power of the image and to the political effectiveness of the documentary. This article brief…
A transnational feminist rereading of post-Third Cinema theory
The pioneering women making documentaries in the Maghreb – Selma Baccar, Assia Djebar, and Izza Génini – started their careers in the 1970s and 1980s. Their formative years as artists were rooted in an era in which global social movements took to the streets. Two vital manifestoes on film in the Third World and in the Arab world appeared in this context at the end of the 1960s. It is in this light that the early documentaries by Selma Baccar, Ass…
Fragments of War and Animation
In this article, the author addresses the meaning of animated fragments in documentary films. She analyzes a Syrian and a Lebanese film, and illustrates the role and function of the hybrid form as a means through which women are now able to express themselves. Dahna Abourahme’s film Ein El Hilweh: Kingdom of Women (Lebanon, 2010) and Soudade Kaadan’s film Damascus Roofs: Tales of Paradise (Syria, 2010) are used as recent examples of documentaries…
Sympathy for the Other
In this article we explore how female sympathy and solidarity can be forged between transnational subjects and spectators. In particular, we place cinematic depictions of minority female suffering in the contexts of current feminist and postcolonial praxes. The aim is to demonstrate the ways in which world cinema can produce a transnational feminist solidarity through forms and narratives that reflect the experiences of women as gendered postcolo…
Selma Baccar
This chapter discusses a controversial icon of women in Tunisia, Selma Baccar, Tunisia’s first lady of filmmaking, an instigator and a fiercely independent woman still celebrated for her films and politics. Her first film Fatma 75 (1975) carried an intricately political statement of feminist defiance. The film looks at the time of independence and the subsequent struggle for women to gain their rights under the first president, Habib Bourguiba. T…
Izza Génini
This case study looks at a much overlooked and ignored filmmaker from Morocco, Izza Génini: the first woman to be truly dedicated to making documentaries in a country where documentaries were actively discouraged. Morocco’s political, economic, cultural and social devastation during the Years of Lead in the eighties determined censorship and prevented any sort of filmmaking for a long time. People were disappeared or killed by government spies, a…
Assia Djebar
Assia Djebar (1936Djebar ( -2015) ) is one of the most famous Algerian women authors in history. In this chapter I focus on the only two films she ever made, in the late 1970s and early 1980s, one of which is hardly ever mentioned while the other is revered as a feminist masterpiece of psychoanalytic treatment of historic trauma. Djebar was born Fatima-Zohra Imalayen on 4 August 1936 in Cherchell, a small Berber city in Chenoua, the mountainous r…
Negotiating Dissidence
In spite of harsh censorship, conservative morals and a lack of investment, women documentarists in the Arab world have found ways to subtly negotiate dissidence in their films, something that is becoming more apparent since the ‘Arab Revolutions’. In this book, Stefanie Van de Peer traces the very beginnings of Arab women making documentaries in the Middle East and North Africa (MENA), from the 1970s and 1980s in Egypt and Lebanon, to the 1990s …
Negotiating Dissidence
In spite of harsh censorship, conservative morals and a lack of investment, women documentarists in the Arab world have found ways to subtly negotiate dissidence in their films, something that is becoming more apparent since the ‘Arab Revolutions’. In this book, Stefanie Van de Peer traces the very beginnings of Arab women making documentaries in the Middle East and North Africa, from the 1970s and 1980s in Egypt and Lebanon, to the 1990s and 200…
Women in African Cinema
Women in African Cinema: Beyond the Body Politic showcases the very prolific but often marginalised presence of women in African cinema, both on the screen and behind the camera. This study provides the first in-depth and sustained study of women in African cinema. Films by women from different geographical regions are discussed in case studies that are framed by feminist theoretical and historical themes, and seen through an anti-colonial, philo…
Dan Bashara, Cartoon Vision
While animation studies has boomed over the past few years, gaining mainstream scholarly attention, the focus has nevertheless remained on technological specificities of the form, and on the ways in which its consumption and study are inherently different from those of live-action filmmaking. The current prevalence of history books within animation studies reveals something about its acceptance within film studies more broadly. Both books under r…
ReFocus: The Films of Jocelyne Saab
Jocelyne Saab was one of the most important female filmmakers pioneering a sense of international emancipatory world cinema from early 1970s to her death in 2019. This book is the first English-language study dedicated to her entire oeuvre which consisted of journalism, documentaries, experimental and feature films, as well as photography, art exhibitions and curation and film festival organisation. In this book, a range of international scholars…
ReFocus
ReFocus
Offers the first study about Jocelyne Saab (1948-2019), a Lebanese pioneer of Arab cinema Offers a cohesive study of her oeuvre, both filmic, activist and artistic Positions Saab’s work as central to the development of world cinema, and not only in the Arab world Provides a comprehensive and fresh study of her work, bringing together scholars from across the globe Jocelyne Saab was one of the most important female filmmakers pioneering a sense of…
Nights and Anime
Anthologising folktales from across the Middle East and North Africa, the inherently transnational 1001 Nights has become one of the most adapted works in the history of folklore (Zipes et al. 2015). The tales have been adapted globally into works ranging from literature to theatre, from radio to film and animation. The animated versions of the tales in particular, refer to some of the earliest feature films in animation history and have been the…
ReFocus
ReFocus
Filmmaking in Palestine is fractured by war, disaster,oppression and insurgency – and remains largely unrecorded officially, shrouded in taboos and sensationalism. It is defined by exile and by the requirement for permits to enter the Palestinian territories, thus portraying the Palestinian stories in fragmentary ways. To make films under such limiting conditions requires dissent and creativity. Annemarie Jacir is one of those bold and creative f…
Art (13 works) · Sociology (13 works) · African history and culture studies (11 works) · Media studies (10 works) · Movie theater (10 works) · Political science (10 works) · Gender Studies (9 works) · History (9 works) · Law (8 works) · North African History and Literature (8 works)