Cognitive Science, Volume 46, Issue 6, June 2022.

On the basis of a case study of the integration of Haredi Jewish women into the Israeli high-tech industry, we explore how gender–religiosity intersectionality affects ultra-conservative women’s participation in the labor market and their ability to negotiate with employers for corporate work–family practices that address their idiosyncratic requirements. We highlight the importance of pious women’s affiliation to their highly organized religious communities while taking a process-centered approach to intersectionality and focusing on the matrix of domination formed by the Israeli state, (...) employers, and the organized ultra-orthodox community. We dub this set of actors “the unholy-trinity” and argue that it constructs a specific, religion-centric inequality regime that restrains women’s job and earning opportunities. At the same time, the “unholy trinity” also empowers women in their struggle to create a working environment that is receptive to their religiosity and what that commitment demands of them. (shrink)

Cognitive Science, Volume 46, Issue 9, September 2022.

This article examines the importation of new gender ideals into a highly masculine organization through top-down and bottom-up processes. We analyze how a dominant group of men undo and redo gender to reproduce their supremacy and create a new, “improved” form of masculinity. Based on qualitative research on the practice of debriefing in the Israel Air Force, we explore how new practices of masculinity are incorporated into a hegemonic masculinity by introducing so-called “soft” organizational practices and thus constructing a new (...) form of “upgraded” masculinity. We show that pilots are involved in two continual and dialectical processes of performing masculinity. The first includes top-down practices neutralizing opportunities to execute exaggerated masculine performances, including new technologies allowing recording and documenting of all flights, a safety discourse emphasizing the protection of human life, and organizational learning based on self- and group critiques aimed at improved performance. The second, a bottom-up process enacted by pilots, is aimed at restoring and mobilizing masculinity and includes rationalized professionalism, competitiveness, and patronizing. Taken together, these constitute a hybrid, “upgraded” masculinity where “soft” characteristics are appropriated by men to reinforce a privileged status and reproduce their dominance within and outside the military. Our case study focuses on the debriefing, a process in which air teams formally reflect on their performance after a particular task/event to improve it. (shrink)

As part of the preparations to establish a population-based biobank in a large Israeli health organization, we aimed to investigate through focus groups the knowledge, perceptions and attitudes of insured Israelis, toward biobanking, and then, after input from focus groups’ participants, to empirically assess the impact of a revised recruitment process on recruitment rates. 1) Six Focus group discussions were conducted with individuals who had routine blood laboratory tests taken in the last 2 years. 2) After addressing the issues raised (...) in the focus groups and revising the recruitment process, individuals undergoing routine blood tests in phlebotomy clinics were invited to participate in the future biobank. Six Focus group discussions were conducted with individuals who had routine blood laboratory tests taken in the last 2 years. After addressing the issues raised in the focus groups and revising the recruitment process, individuals undergoing routine blood tests in phlebotomy clinics were invited to participate in the future biobank. At the outset of the focus groups there was an overall positive response to the prospect of a population-based biobank. Concerns revolved around infringement on privacy, fears of the “big brother”, and anxiety about inequality. Reaction to the language of the informed consent document revolved around concerns over ability to maintain anonymity, to withdraw consent, involvement of commercial entities, and the general tenor of the informed consent, which was perceived as legalistic and unilateral. In general, the longer participants were exposed to discussion about the biobank, the less likely they were to consent to sign in. Overall, only 20% of the 60 participants stated they would agree to sign in by the end of the 2 hour group session. The feedback obtained from the focus groups was used in the second stage of the study. A team of recruiters received extensive training to enable fruitful discussion and a detailed explanation to questions and concerns raised during the recruitment process. During the second stage of the study, after revising the consent form and training recruiters, a 53% consent rate was observed among 10,262 participants, more than 4 fold higher than estimated at the focus group stage. The qualitative focus group research helped identify important perceptions and concerns, which were subsequently addressed in the revised consent form and in the discussion the recruiters had with potential biobank donors. (shrink)

Alison Smith _Agnes Varda_ Manchester University Press, 1998 ISBN: 0 7190 5061 213 pp.

Varda's longtime moniker, "Grandmother" of the French New Wave, conjures the image of a "little old woman, pleasantly plump and talkative"–a description that Varda herself uses in Les Plages d'Agnès. In The Cinema of Agnès Varda: Resistance and Eclecticism, Delphine Bénézet contends that this persona is merely one of many alter egos that Varda puts forward in her attempt to debunk "the myth of the all mighty male auteur". Furthermore, Bénézet's exploration of Varda's oeuvre reveals (...) that the filmmaker's work has always been anything but antiquated. Since her first feature film, La Pointe Courte, Varda's innovative approach to filmmaking has been a testament to the limitless possibilities of the... (shrink)

This essay examines French filmmaker Agnès Varda’s Le Bonheur (1965) and Vagabond (1985) for their critical invocation of the persistent and patriarchal association of women with plants. Both women and plants are thought within the metaphysical tradition to have a deficient or negative relation to freedom. Varda’s films, however, link the liberation of women in postwar France to the liberation of vegetal being; her female protagonists pursue their liberation by accessing the vegetal freedom that subtends human freedom. In (...) Le Bonheur, Varda uses visual irony to critique the processes of idealization that turn both women and flowers into signifiers of ideal beauty in thrall to the enchantments of happiness. In Vagabond, the enigmatic female drifter at the center of the film enacts a plant-like refusal of self-preservation. In both films, female liberation takes vegetal shape, as their protagonists embody a vegetal silence or vegetal indifference in defiance of the patriarchal situations they encounter. (shrink)

Through a discussion of Agnès Varda's career from 1954 to 2008 that focuses particularly on La Pointe Courte (1954), L'Opéra-Mouffe (1958), The Gleaners and I (2000), and The Beaches of Agnes (2008), this article considers the connections between Varda's filmmaking and her femaleness. It proposes that two aspects of Varda's cinema—her particularly perceptive portrayal of a set of geographical locations, and her visual and verbal emphasis on female embodiment—make a feminist existential-phenomenological approach to her films particularly fruitful. (...) Drawing both directly on the work of Maurice Merleau-Ponty and on some recent film- and feminist-theoretical texts that have employed his insights, it explores haptic imagery and feminist strategy in The Gleaners and I, the materialization of space characterizing Varda's blurring of fiction and documentary, and the dialectical relationship of people with their environment often observed in her cinema. It concludes that both Varda's female protagonists and the director herself may be said to perform feminist phenomenology in her films, in their actions, movement, and relationship to space, and in the carnality of voice and vision with which Varda's own subjectivity is registered within her film-texts. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:14 Feminist Studies 46, no. 1. © 2020 by Feminist Studies, Inc. Melissa Oliver-Powell Beyond the Spectacle of Suffering: Agnès Varda’s L’Unechante,l’autrepas and Rewriting the Subject of Abortion in France In the spring of 1971, three years after the revolutionary fervor of May 1968 in France, 343 women put their names to a courageous manifesto announcing that they were criminals of a particularly gendered nature. The authors of (...) Manifeste des 343 (Manifesto of the 343) comprised a large group of culturally eminent French women and activists declaring that they had all illegally undergone abortions, which at this point, despite growing decriminalization throughout much of Western Europe, were still outlawed within their republic. Though many of the revolutionary fires had now eased to embers, French feminists demonstrated that reproductive rights were still a vital and unresolved topic of social justice. Including names as weighty as Simone de Beauvoir, Jeanne Moreau, and Catherine Deneuve, the manifesto brought together exceptional women from the fields of academia, law, theater, film and literature, alongside grassroots activists. Their action was a bold challenge to the French authorities, daring them to arrest some of the country’s brightest thinkers and cultural innovators under a law the signatories felt was deeply unjust, sexist, and antithetical to the values of individual liberty and citizenship. It was a case of those with the broadest shoulders weaponizing their privilege to present a robust front line in the wider struggle for women’s rights. One of the signatories was filmmaker Agnès Varda. Her name, like those of several others on the list, demonstrates the symbiosis between Melissa Oliver-Powell 15 cultural production and gender politics that has often characterized French feminist thought. From the multidisciplinary writings of Beauvoir, to the novels of the écriture féminine movement, to the lyrical academic prose of Hélène Cixous, Luce Irigaray, Julia Kristeva, and others, French and Francophone feminist writers have tended to connect art and politics with a great deal of fluidity. As a committed activist and a filmmaker, Agnès Varda falls very much within this tradition, often adopting and developing feminist practices within her cinema. This article examines how Varda’s 1977 film, L’Une chante, l’autre pas (One Sings, The Other Doesn’t) interacts with and participates in the feminist political project of reproductive rights as well as the ongoing intellectual and moral debates over abortion taking place in France throughout the late 1960s and 1970s. I look particularly at the adversarial construction of abortion narratives within these debates and the location of victimhood therein. Within mainstream cultural representations in and beyond France, abortion is typically constructed as either a traumatic or a transgressive moment. The same is often true on either side of political and social debates on abortion, which have tended either to characterize the women who get abortions as irresponsible and amoral or as sympathetic victims in need of protection. Though the transgressive element persists, it is the interaction with representations of trauma that interests me here. In approaching discussions of gendered injustice, it is common for feminist writers and activists to leverage pathos as a rhetorical strategy. While suffering can be a highly effective and galvanizing expression of oppression, such discourses also run the risk of producing excessive depictions of victimhood, which can displace the capacity for action from the subject of hardship onto the privileged oppressor. This risk is particularly at stake within the cultural form of film, as its visuality and identificatory mechanics have the potential to spectacularize the female victim and make her relatable only through suffering. This was often the case in earlier French films that featured abortion such as Les Mauvaises rencontres (1955), Des gens sans importance (1956), Journal d’une femme en blanc (1965), and Une femme en blanc se révolte (1966), all of which made their subjects sympathetic by entwining them in long narratives of victimization ending in death or disgrace. This article looks at how Varda’s L’Une chante, l’autre pas disengages from the spectacle of suffering that so often characterizes representations of women’s experiences 16 Melissa Oliver-Powell and rejects the idea that abortion narratives must... (shrink)

Long before Luc Besson shot Fifth Element (1997) in English, and long before the squabble over whether Jean-Pierre Jeunet’s Un long dimanche de fiançailles (A Very Long Engagement [2004]) was really a French film or a Warner Brothers’ film, the “national” in French national cinema was complicated. And yet a quick glance at the course offerings of most film departments will tell us that the discipline of Film Studies persists in employing a national cinema model when conceptualizing non-Hollywood cinema. In (...) fact, French cinema has been global from its inception, if we think of globalization as the “increasing speed, ease, and extent with which capital, goods, services, technologies, people, cultures, information .. (shrink)

This article focuses on images of walking in Agnès Varda's films – Cléo de 5 à 7 (1962), Sans toit ni loi (1985), and Les Plages d’Agnès (2008). The activity of walking (as urban flânerie, circular travelling or walking backwards) is central to these films, and can be seen as a corporeal practice that not only interweaves striated and smooth spaces but also offer a gender-sensitive, political contemplation on the forces of striation and smoothing as well as a re-invention (...) of space. The women in movement in Varda's films embody a transgression of stratified territories such as the image-oriented society of the spectacle in Cléo, myths of adolescence and settled living in Sans toit ni loi, or the boundaries of aging in Les Plages d'Agnès. (shrink)

Agnès Varda, Coline Serreau, Nelly Kaplan, trois noms parmi des dizaines qui illustrent chacun à leur manière une nouvelle façon de faire du cinéma : même si la carrière de la première est antérieure à mai 68, son nom comme celui des autres est lié à ce qu’on appellera dans les années 1970 le « cinéma des femmes ». Cet article propose une interrogation sur ce cinéma au féminin, afin d’envisager à la fois le contexte particulier dans lequel il (...) émerge, les problématiques qu’il soulève, et ce en quoi il va renouveler un cinéma français jusqu’alors ultra masculinisé. Il analyse également quelques films-clés d’après mai 1968. Cette décennie amorce un processus de féminisation du cinéma. Elle a aussi et surtout le mérite d’apporter des alternatives à la représentation dominante des sexes et des rapports de sexe à l’écran, et de donner une voix à des personnages féminins différents. (shrink)

Agnès Varda, Coline Serreau, Nelly Kaplan, trois noms parmi des dizaines qui illustrent chacun à leur manière une nouvelle façon de faire du cinéma : même si la carrière de la première est antérieure à mai 68, son nom comme celui des autres est lié à ce qu’on appellera dans les années 1970 le « cinéma des femmes ». Cet article propose une interrogation sur ce cinéma au féminin, afin d’envisager à la fois le contexte particulier dans lequel il (...) émerge, les problématiques qu’il soulève, et ce en quoi il va renouveler un cinéma français jusqu’alors ultra masculinisé. Il analyse également quelques films-clés d’après mai 1968. Cette décennie amorce un processus de féminisation du cinéma. Elle a aussi et surtout le mérite d’apporter des alternatives à la représentation dominante des sexes et des rapports de sexe à l’écran, et de donner une voix à des personnages féminins différents. (shrink)

In Subjectivity without Subjects, well-known philosopher and feminist theorist Kelly Oliver looks at aspects of popular culture, film, science, and law to examine contemporary notions of paternity and maternity. Oliver studies the roles of paternal responsibility, virility, and race in such events as the Million Man March and the Promise Keeper's movement and suggests alternative ways to conceive of self-other relations and the subjective identity at stake in them. In addition she offers a detailed analysis of particular works by such (...) well-known filmmakers as Polanski, Bergman, and Varda in developing a theory of identity that opens the subject to otherness and difference. (shrink)

In Selfless Cinema?, Sarah Cooper maps out the power relations of making, and viewing, documentaries in ethical terms. The ethics of filmmaking are often examined in largely legalistic terms, dominated by issues of consent, responsibility, and participantse(tm) or film-makerse(tm) rights, but Cooper approaches four representative French film-makers e" Jean Rouch, Chris Marker, Raymond Depardon, and Agns Varda e" in a far less juridical way, drawing on the ethical philosophy of Emmanuel Levinas. She argues that, in spite of Levinase(tm)s iconoclastic, (...) anti-ocular thinking, his concept of visage is richly applicable to film, and especially to documentary. (shrink)

Introduction -- Time and matter: temporality, embodied subjectivity and film phenomenology -- Knowing and nothing: Chris Marker, subjective temporalities and vocalic bodies in the future tense -- Agnès Varda's Trinket box: subjective relationality, affect and temporalised space -- Burlesque gestures and bodily attention: phenomenologies of the ephemeral in Chantal Akerman -- Threatened corporealities: thinking with the films of Philippe Grandrieux -- Conclusion: rethinking cinematic subjectivity and beyond.

The general topic of this book is the theory of categories, its sources, meaning and development. The inquiry can be seen to proceed on two levels. On one, the history of the theory is traced from its alleged genesis in Aristotle, through its main subsequent stages of Kant and Hegel, up to a kind of consummation in two of its prominent twentieth century adherents, Alfred North White head and Nicolai Hartmann. Special attention has been paid to that aspect of the (...) Hegelian conception of the categorial analysis from which the principle of coherence emerged. On the second, deeper level, however, everything starts with Whitehead's metaphysical system, the central part of which con sists of a fascinating, though highly intricate, web of categorial notions and propositions. The historical perspective becomes a means for untangling that web. I am indebted to a number of people for advice, comment and criticism of various parts of this book. My greatest thanks go to my teachers and colleagues Nathan Rotenstreich, Nathan Spiegel, Yaakov Fleischman, as well as to the late Shmuel Hugo Bergman and Pepita Haezrachi. of this book was published in 1967 by An earlier, Hebrew version the Bialik Institute of Jerusalem. I am grateful to Mr Yehoshua Perel, Mr Arnold Schwartz and to my wife Varda for their cooperation in rendering the extensively revised text of the book into readable English. I also owe great appreciation to Miss Liat Dawe for an accurate and painstaking word-processing of the text. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:preface At a time when access to safe abortions is being curtailed in the United States under the pretext of a response to the COVID-19 pandemic, this Feminist Studies issue focuses on abortion and women’s embodiment. The essays by Melissa Oliver-Powell, Rachel Alpha Johnston Hurst, and Jennifer L. Holland each contribute new approaches to the stillvexed topic of abortion, positioning movements for abortion access in relation to historical and (...) ecological change. Two collaboratively written essays, by South American authors María Fernanda Olarte-Sierra and Tania Pérez-Bustos, and by North American and European authors Laura Bisaillon with six colleagues, both center the body within feminist labor, exploring how the embodied experience of work can also be a site of knowledge-making. Other authors push us to move beyond humanistic understandings of affect and the body in feminist work, as Nathan Snaza shows in a review essay of four recent books engaging “Biopolitics without Bodies.” Poems by Rosetta Marantz Cohen, Darlene Taylor, and Abby Minor also feature experiences of bodily violence and bodily pleasure, while Ellyn Weiss discusses the distinctive representations of bodies in the visual art of Swedish-American artist Anna U. Davis. To close the issue, two News and Views pieces by Pang Laikwan and Sealing Cheng on the recent protest movement in Hong Kong provide two complementary perspectives on living through tumultuous political times. Our next issue will include content directly focused on the COVID-19 pandemic. In the first essay, Melissa Oliver-Powell’s “Beyond the Spectacle of Suffering: Agnès Varda’s L’Une chante, l’autre pas and Rewriting the Subject of Abortion in France” addresses the complexities of anti-​ abortion 8 rhetoric in France. Placing Varda’s 1977 film in the historical context of French nationalistic anxiety about low birthrates in the twentieth century, Oliver-Powell argues that the film deconstructs polarized narratives about abortion. While dominant cultural representations of abortion typically depicted it as the result of female irresponsibility or traumatic victimization, Varda’s film rejects the binary concepts of villain and victim and questions the presumption that women always suffer when exercising their reproductive choice. Oliver-Powell situates Varda alongside the 343 eminent French female cultural leaders who composed a famous 1971 Manifesto publicly declaring themselves criminals for having had illegal abortions and presents simultaneous histories of French feminism and French cinema. Varda’s film constructs a feminist representation of abortion that avoids foregrounding women ’s suffering and instead emphasizes empowerment and solidarity. Its narrative features two women friends, both treated unjustly by France’s abortion laws, who participate in the movement for reform over a fourteen -year span. Varda represents the interplay of motherhood with women ’s lives as a continuum, not a disruptive episode, and she blends documentary -style devices with imaginative musical interludes: she shows actual women seeking abortions in Holland and includes songs about abortion, pregnancy, and motherhood. Oliver-Powell claims that Varda dramatizes unprecedented representations “of female friendship without pathology, of abortion without guilt, death or persecution, of motherhood without objectification....” A second essay, Rachel Hurst’s “Abortion as a Feminist Pedagogy of Grief in Marianne Apostolides’s Deep Salt Water,” proposes that the championing of women’s reproductive rights could better account for the context of difficult emotions and an imperfect world. Hurst uses reproductive justice approaches to critique simplistic rights-based arguments for abortion, premised on liberal concepts of choice and autonomy, which fail to understand the material conditions of poor women and especially women of color. Such analyses emphasize the necessity of rights discourses that include the right to bear and parent one’s own children free from violence and economic hardship, and they advocate the transformative possibilities of acknowledging rather than suppressing women’s ambivalence about their own abortions as well as others’ choices. Hurst describes a collaboration between two contemporary Canadian feminists, writer Marianne Apostolides and visual artist  9 Catherine Mellinger, in their mixed-media text, Deep Salt Water, which is organized according to the weeks of a pregnancy and the aftermath of its termination. Rather than falling back into familiar polarizations for and against “choice,” they use the story of Apostolides’s abortion seventeen years earlier... (shrink)

The figure of the auteur continues to haunt the study of film, resisting both the poststructuralist charges that pointed to its absence and the histories of production demonstrating its pitfalls. In an era defined by the instability of identities and the recycling of works, Performing Authorship offers a refreshingly new take on the cinematic auteur, proposing that the challenges that once accelerated this figure's critical demise should instead pump new life into it. Performing Authorship is an illuminating analysis of films (...) by Jean-Luc Godard, Woody Allen, Agnes Varda, Orson Welles, Jean Rouch, Eduardo Coutinho and Sarah Turner that shows directors shifting between opposite movements towards authorial assertion and divestiture, palpability and disappearance, exposure and masking. In making this journey, Cecilia Sayad argues, the film author is not necessarily at the work's origin, nor does it constitute the end product. What the new concept of performing authorship describes is the making and unmaking of a subject"--Publisher website. (shrink)

L’émergence de la Nouvelle Vague au tournant des années 1960 peut se lire comme la revendication d’une posture créatrice relevant de la culture d’élite, dans un medium jusque là éminemment populaire, le cinéma. S’inscrivant dans une tradition culturelle particulièrement forte en France, ce nouveau cinéma va se conjuguer quasi-exclusivement au masculin singulier, et les figures féminines qu’il crée oscillent entre la prise en compte de l’émancipation des femmes réelles et des fantasmes romantiques et misogynes beaucoup plus archaïques. Ces contradictions sont (...) explorées à travers quatre films de Godard, Chabrol, Varda et Resnais. (shrink)

L’émergence de la Nouvelle Vague au tournant des années 1960 peut se lire comme la revendication d’une posture créatrice relevant de la culture d’élite, dans un medium jusque là éminemment populaire, le cinéma. S’inscrivant dans une tradition culturelle particulièrement forte en France, ce nouveau cinéma va se conjuguer quasi-exclusivement au masculin singulier, et les figures féminines qu’il crée oscillent entre la prise en compte de l’émancipation des femmes réelles et des fantasmes romantiques et misogynes beaucoup plus archaïques. Ces contradictions sont (...) explorées à travers quatre films de Godard, Chabrol, Varda et Resnais. (shrink)

Introduction -- Against house arrest -- Digital impressions: writing memory after Agnès Varda -- Folding time: toward a new theory of montage -- Archiving disappearance: from Michelangelo Antonioni to new media.