ABSTRACT
As a scholar whose work often turns toward feminist, phenomenological, and situated approaches to the moving image, I have in the past been accused of “cherry-picking” the artists and works with which I think and write. In a sense, this is absolutely correct. My studies tend to rely on serendipity and an openness to new encounters with creative expression, in examples that are rarely constricted by singularities of form and categories of scholarly discipline. Consequently I have found myself described both as a dabbler and a dilettante. But I prefer to be described as restless: this latter term acknowledges my reluctance to situate myself comfortably within the well-worn pathways of disciplinary structures in the humanities. My writing here, in a volume about women, Woman, and the multiple crossroads of feminisms in 21st-century Film Studies, continues these peregrinations.
