| Abstrakt: |
Potter's YES further adds tothe discussion of counter cinema a perspective thatdetours from realism towards representation, and I wouldfirst like to contrast this approach with the canonicalCahiers approach to political cinema in the next section. Similarly, Potter made a film, YES,that carefully deals with the politics of representationby way of creating an abstract confrontation between the"Middle Eastern other" and the "Western feminist." Sally Potter's 2004 film YES is a point of intersectionfor some overlapping questions that have occupied countercinema discourse, feminist film theory and discussions ofpostmodernism since the 1970s. [Extracted from the article] |
