Genre, Authorship and Contemporary Women Filmmakers Review Rubric
This is a review of
Paszkiewicz, Katarzyna. Genre, Authorship and Contemporary Women Filmmakers. Edinburgh: Edinburgh UP, 2008. Open Research Library.
completed by Alyson Blythe, Assistant Professor of English/Humanities Coordinator at Fletcher Technical Community College.
The text covers all areas and ideas of the subject appropriately and provides an effective index and/or glossary.
The book opens with a discussion of genre and feminist film criticism and then a discussion of subversion before specifically focusing the remaining sections on a theme as illustrated in a particular female-directed film. The works discussed are contemporary and from a range of genres: Jennifer’s Body (horror-comedy), The Hurt Locker (war/action), Meek’s Cutoff (western/drama), Marie Antoinette (historical drama/romance), The Intern (comedy-drama), which effectively illustrates the diversity among the directors in terms of style, theme, and messaging.
Content is accurate, error-free and unbiased.
Content is from a feminist-critique perspective, but remains diverse in its representation of female directors as well as in its focus on genre/themes. Author provides a plethora of details, including film examples and quotes, to illustrate points.
Content is up-to-date, but not in a way that will quickly make the text obsolete within a short period of time. The text is written and/or arranged in such a way that necessary updates will be relatively easy and straightforward to implement.
Content focuses on recent films from the limited period of 2006-2015. Sufficient Introduction and Background are provided to establish the narrow focus of text. Additional examples of more recent works could be included to expand the discussion and provide a more diverse range of women directors. The inclusion of short film directors would also be helpful.
The text is written in lucid, accessible prose, and provides adequate context for any jargon/technical terminology used.
The text is clear and concise without being overly technical or using inaccessible literary or cinematic jargon. Some genre-specific terminology is used, but its meaning is evident in context.
The text is internally consistent in terms of terminology and framework.
Author effectively integrates quotes throughout the text with the overall voice remaining consistent. This helps the work to flow.
The text is easily and readily divisible into smaller reading sections that can be assigned at different points within the course (i.e., enormous blocks of text without subheadings should be avoided). The text should not be overly self-referential, and should be easily reorganized and realigned with various subunits of a course without presenting much disruption to the reader.
There is an overall thematic consistency, but the text reads more like a collection of essays. This is beneficial in breaking the content up to use within different course modules.
Organization Structure Flow
The topics in the text are presented in a logical, clear fashion.
Structured around discussions of genre and focused on contemporary filmmakers, the text is organized effectively to illustrate women’s contributions to the film industry. While the last five sections of the text focus on specific directors/films and can stand as separate works, they tie together thematically in their feminist critique of modern cinema.
The text is free of significant interface issues, including navigation problems, distortion of images/charts, and any other display features that may distract or confuse the reader.
The work is almost exclusively text with some black and white photos sprinkled throughout. However, these are rather muddy-looking and really just serve to break up the text. Overall, the text is easy to navigate with paragraphs not being overly long and sections broken up with headings and images.
The text contains no grammatical errors.
The text contains no grammatical errors. The style of the text is engaging and the content is not overly technical or complex.
The text is not culturally insensitive or offensive in any way. It should make use of examples that are inclusive of a variety of races, ethnicities, and backgrounds.
Overall, the work focuses on women’s work in mainstream films. The work addresses topics such as gender and feminist theory as applied to cinema. The work features modern filmmakers such as Kathryn Bigelow, Diablo Cody, Sofia Coppola, and Kelly Reichardt. Moreover, the text emphasizes diversity in women directors via diversity in genres. No longer confined to directing rom-coms, women directors are breaking the “glass ceiling” by breaking into male-dominated film genres, such as horror, action, and science-fiction.
This text was reviewed for the English course Introduction to Women’s Literature for a section on Women in Cinema, but some sections may be included in an Introduction to Film course as well.