ABSTRACT
The project of women's cinema, is no longer that of destroying or disrupting man-centered vision by representing its blind spots, its gaps, or its repressions. The effort and challenge are how to effect another vision: to construct other objects and subjects of vision, and to formulate the conditions of representability of another social subject. The idea that a film may address the spectator as female rather than portray women positively or negatively, seems very important in the critical endeavor to characterize women's cinema as a cinema for, not only by, women. "The relationship between history and so-called subjective processes," says Helen Fehervary in a recent discussion of women's film in Germany, "is not a matter of grasping the truth in history as some objective entity, but in finding the truth of the experience. Evidently, this kind of experiential immediacy has to do with women's own history and self-consciousness.".
