Sandy Flitterman-Lewi

Biographic Data

ID990997
NAMESandy Flitterman-Lewi
GIVEN NAMESSandy
FAMILY NAMEFlitterman-Lewi
SIGNATUREFLITTERMAN-LEWI S
AFFILIATIONSRutgers Sexual and Reproductive Health and Rights
ORCID0009-0000-8205-355X
VERIFIEDYes
TOTAL WORKS10
TOTAL CITATIONS4
AUTHOR COUNT10
EDITOR COUNT0
FIRST PUBLICATION YEAR1988
LATEST PUBLICATION YEAR2025
H-INDEX1

  • The many realisms of Marceline Loridan-Ivens’s life and art

    Sandy Flitterman-LewiARTICLENew Cinemas Journal of…2025

    Marceline Loridan-Ivens (19 March 1928–18 September 2018), an activist of memory and the human heart, was a writer, filmmaker, producer and actress whose experience of the Shoah as a 15-year-old girl in the Nazi death camp of Birkenau marked the rest of her extraordinary life and work. As one of the most eloquent advocates for humanity and the power of memory, her reflections on her identity as a Jewish woman and the sacred responsibility to heal…

  • A ‘Universe of Associations’: The complete films of Agnès Varda

    Open AccessSandy Flitterman-Lewi, Sandy Flitterman-LewisARTICLEFilm International2021

  • Passion, Commitment, Compassion: Les Justes au Panthéon by Agnès Varda

    Sandy Flitterman-Lewi, Sandy Flitterman-LewisARTICLECamera Obscura Feminism Culture…2021

    Agnès Varda's 2007 installation Les Justes au Panthéon (The Righteous at the Pantheon, France) honored the many French “Righteous” who saved Jewish children during World War II in a ceremony commemorating their heroic actions with the placement of a plaque in the crypt. For a while this installation held a minor place in Varda's oeuvre, until she gave it a featured position in her autobiographical film The Beaches of Agnès (Les plages d'Agnès, Fr…

  • Souvenirs de Chantal

    Sandy Flitterman-Lewi, Sandy Flitterman-LewisARTICLECamera Obscura Feminism Culture…2019

    This tribute to the work and legacy of Belgian filmmaker, writer, and installation artist Chantal Akerman, by a scholar of her work who also knew the filmmaker, is written in short paragraphs beginning with the phrase "I remember," each recounted memory leading into the next. The format is derived from writer Georges Perec, and the essay connects these artists through their experiences as Holocaust survivors or children of survivors. Touching on …

  • Ephemeral, elusive, impossible: Chantal Akerman and the concept of 'home

    Sandy Flitterman-LewiARTICLEMoving Image Review & Art Journal…2019

    Preview this article: Ephemeral, elusive, impossible: Chantal Akerman and the concept of ‘home’, Page 1 of 1 /docserver/preview/fulltext/miraj/8/1-2/miraj_00009_1-1.gif

  • Camera Obscura: Feminism, Culture, and Media Studies

    Sandy Flitterman-Lewi, Sandy Flitterman-LewisARTICLECamera Obscura Feminism Culture…2006Cited by: 1

    Research Article| May 01 2006 Camera Obscura: Feminism, Culture, and Media Studies Sandy Flitterman-Lewis Sandy Flitterman-Lewis Search for other works by this author on: This Site Google Camera Obscura (2006) 21 (1 (61)): 27–31. https://doi.org/10.1215/02705346-2005-002 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Sandy Flitterman-Lewis; Camera Obscura: Feminism, Culture, and Media Studies. Ca…

  • The Blossom and the Bole: Narrative and Visual Spectacle in Early Film Melodrama

    Sandy Flitterman-Lewi, Sandy Flitterman-LewisARTICLECinema Journal1994Cited by: 1

    Labor is blossoming or dancing where The body is not bruised to pleasure soul, Nor beauty born out of its own despair, Nor blear-eyed wisdom out of midnight oil. O chestnut-tree, great-rooted blossomer, Are you the leaf, the or bole? O body swayed to music, O brightening glance, How can we know the dancer from the dance? -Among School Children, W. B. Yeats Efforts to trace both the parentage and defining features of early film melodrama often cry…

  • Magic and wisdom in two portraits by Agnes Varda: Kung-Fu Master and Jane B. by Agnes V

    Sandy Flitterman-Lewi, S Flitterman-LewisARTICLEScreen1993

    Journal Article Magic and wisdom in two portraits by Agnès Varda: Kung-Fu Master and Jane B. by Agnès V. Get access Sandy Flitterman-Lewis Sandy Flitterman-Lewis Search for other works by this author on: Oxford Academic Google Scholar Screen, Volume 34, Issue 4, Winter 1993, Pages 302–320, https://doi.org/10.1093/screen/34.4.302 Published: 01 December 1993

  • The Woman at the Keyhole: Feminism and Women's Cinema

    Georgiana M M Colvile, Judith Mayne et al.ARTICLESubStance1991

  • All's Well that Doesn't End—Soap Opera and the Marriage Motif

    Sandy Flitterman-Lewi, Sandy Flitterman-LewisARTICLECamera Obscura Feminism Culture…1988Cited by: 2

    Research Article| January 01 1988 All's Well that Doesn't End—Soap Opera and the Marriage Motif Sandy Flitterman-Lewis Sandy Flitterman-Lewis Search for other works by this author on: This Site Google Camera Obscura (1988) 6 (1 (16)): 117–127. https://doi.org/10.1215/02705346-6-1_16-117 Cite Icon Cite Share Icon Share Twitter Permissions Search Site Citation Sandy Flitterman-Lewis; All's Well that Doesn't End—Soap Opera and the Marriage Motif. Ca…