Analysis of the films, performance art and music of director Sally Potter.

This survey of Sally Potter’s work explores her cinematic development from the feminist reworking of La Bohème in Thriller to the provocative contemplation of romantic relationships after 9/11 in Yes. Catherine Fowler traces a clear trajectory of developing themes and preoccupations and shows how Potter uses song, dance, performance, and poetry to expand our experience of cinema beyond the audiovisual. Potter has relentlessly struggled against predictability and safe options. Again and again, her works grapple with the complexities of being a woman in charge. Instead of the quest to find a romantic partner that drives mainstream cinema, Potter’s films feature characters seeking answers to questions about their sexual, gendered, social, cultural, and ethnic identities. They find answers by retelling stories, investigating mysteries, and traveling and interacting with people. At the heart of Potter’s work is a concern with the ways narrative circumscribes women's ability to act, speak, look, desire, and think for themselves. Her first two films, Thriller and The Gold Diggers, largely deconstruct found stories, clichés, and images. By contrast, later films like Orlando and The Tango Lesson create new and original narratives that place female acts, voices, looks, desires, and thoughts at their center. Fowler’s analysis is supplemented by a detailed filmography, bibliography, and an extensive interview with the director.

Sally Potter has been renowned for her rapport with actors, and for the luminous performances she works with them to produce. Now she strips bare the art and craft of directing actors for the camera, from casting a film to the moment of first screening when the work goes public. A brilliant writer for the screen, here Potter shows herself to be expert at translating the experience of film directing to the page. She addresses us in prose that is both unsentimental and inspired, tracing the energies that pass between actor, director and audience; shaping for the reader the acts of transmission and imagination, performance and witness, the sum of which make up a film. In addition to the core text, the book contains interviews with actors with whom Sally Potter has worked, whose voices will counterpoint Sally Potter's, and will inform and illuminate the reader's sense of her work. Those interviewed include: Julie Christie, Jude Law, Judi Dench, Simon Abkarian, Annette Benning, Timothy Spall, Steve Buscemi, Riz Ahmed, Elle Fanning, Alessandro Nivola, and Lily Cole.

The subtleties and the nuances of our experience. And I think that verse is a kind of structure that allows us to explore language in a more interesting, more heightened way, then we tend to in everyday conversation."

Since Pearl's grandmother's became seriously ill, Pearl's world view has changed, causing her to feel like an island in school, isolated and alone, especially when her teacher keeps asking for poems that rhyme and Pearl's somehow, seldom do.

An epic movie from the creator of Orlando and The Tango Lesson, The Man Who Cried is a young woman's coming-of-age story set in the dangerous maelstrom of the Nazi Occupation of Paris. The film charts a journey which begins in the lost world of old Jewry and ends in the new world of Hollywood, a journey in which the young woman's original language is taken from her, causing her to retreat into silence - and song. The film attempts to mourn for those lost in the terrible events of the last century - and to celebrate those who found their voices and survived.

The City in the Developing World is a comprehensive and up-to-date introduction to urbanisation in developing countries. The goal of this text is to place an understanding of the developing world city in its wider global context. First, this is done by developing the concept of social surplus product as a key to understanding the character of the contemporary Third World city. Second, throughout this text, the city in developing areas is centrally placed in the context of global, social, economic, political and cultural change. Thus, the important themes of globalisation, modernity and postmodernity are examined both in relation to the structure of sets of towns and cities which make up the national or regional urban system, and in respect of ideas and concepts dealing with the morphology, structure and social patterning of individual urban areas. The City in the Developing World is a core text for second and third year undergraduates in the fields of geography, development studies, planning, economics and the social sciences, taking options which deal with development issues, development theory, gender and development and Third World development.

A screenplay by the writer/director of Orlando. A female film-maker, struggling with the writing of her new film, gradually abandons herself to the physical world of the tango, under the tutelage of an Argentinian living and performing in Paris. They fall in love and strike a bargain.

Choreographer Jacky Lansley has been practicing and performing for more than four decades. In Choreographies, she offers unique insight into the processes behind independent choreography and paints a vivid portrait of a rigorous practice that combines dance, performance art, visuals and a close attention to space and site. Choreographies is both autobiography and archive – documenting production through rehearsal and performance photographs, illustrations, scores, process notes, reviews, audience feedback and interviews with both dancers and choreographers. Covering the author’s practice from 1975 to 2019, the book delves into an important period of change in contemporary British dance – exploring British New Dance, postmodern dance and experimental dance outside of a canonical US context. A critically engaged reflection that focuses on artistic process over finished product, Choreographies is a much-needed resource in the fields of dance and choreographic art making.

Examines the exchanges within and through feminist film culture to expand critical horizons in film scholarship. Following in the footsteps of the filmmakers whose work it features--including Miranda July, Janie Geiser, Tracey Moffatt, Sally Potter, Cindy Sherman, Samira Makhmalbaf, Sadie Benning, Agnès Varda, Kim Longinotto, and Michelle Citron--There She Goes: Feminist Filmmaking and Beyond seeks to make trouble not only in the archives but also at the boundaries between artistic, industrial, political, critical, and disciplinary practices. Editors Corinn Columpar and Sophie Mayer have assembled scholarship that responds to women's work in the interstices between different branches of the film industry, modes of filmmaking, national or transnational contexts, exhibition media, and varieties of visual representation in order to assess the exchanges such work enables. Essays in the first three sections of There She Goes explore connections at the level of curation and exhibition, while the subsequent four consider local connections such as those between the film and the audience or between works within an oeuvre, down to those occurring on the surface of the film. Contributors reach beyond traditional screen cinema to interact with a larger field of artistic production, including still photography, music videos, installation art, digital media, performance art, and dance. Essays also pay particular attention to a variety of contextual factors that have shaped women's filmmaking, from the conditions of production and circulation to engagement with various social movements and critical traditions, including, but not limited to, feminism. By foregrounding fluidity, There She Goes presents a an exciting new appraisal of feminist film culture, as well as the intellectual and affective potential it holds for filmmakers and filmgoers alike. Scholars of film and television studies and gender studies will appreciate the fresh outlook of There She Goes.