ABSTRACT
In the twenty-first century, a literature suggesting that women's cinema be considered as world cinema has begun to emerge. The necessarily condensed survey of global women's filmmaking in the twenty-first century illustrates the geographical range achieved by recent studies of the topic: the "specific articulation of gender, geopolitics, and cinema" identified at the very start of Women's Cinema, World Cinema is now indisputably a discourse with which Film Studies has to contend. Universalizing the parameters for feminism and using such a historical psychoanalytical categories as "desire", "fetishism", and "castration" led to a discussion of "the female body" and "the female spectator" that was ungrounded in the many different—even opposing—women's experiences, agendas, and political visions. In monographs, articles, and special issues of journals, their work advances transnational conceptual frameworks such as "minor cinema" or "women's cinema as world cinema" to apprehend women's creative, diverse, and transnational contributions to cinema systematically, beyond encyclopaedic reference and national or regional formats.
