Feminism and antinarrative editing

Although some female directors have chosen subject matter and an editing style similar to those of male directors,5 there are a number who, like von Trotta, have consciously differentiated themselves from the male conventions in the genres in which they choose to work.

For example, Amy Heckerling has directed a teenage comedy from a girl's perspective. Fast Times at Ridgemont High (1982) breaks many of the stereotypes of the genre, particularly the attitudes about sex roles and sexuality.

Another film that challenges the conventional view of sex roles and sexuality is Susan Seidelman's Desperately Seeking Susan (1985). The narrative editing style of this film emulates the confusion of the main character (Rosanna Arquette). Seidelman was more successful in using a nonlinear editing pattern than was Heckerling, and the result is an originality unusual in mainstream American filmmaking.

Outside of the mainstream, Lizzie Borden created an antinarrative in Working Girls (1973), her film about a day in the life of a prostitute. Although the subject matter lends itself to emotional exploitation, as illustrated by Ken Russell's version of the same story in Whore (1991), Borden decided to work against conventional expectations.

She focused on the banality of working in a bordello, the mundane conversation, the contrast of the owner's concerns and the employees' goals, and the artifice of selling the commodity of sex. Borden edited the film slowly, contrary to our expectations. She avoided close-ups, preferring to present the film in mid- to long shots, and she avoided camera motion whenever possible. As a result, the film works against our expectation, focusing on the ironic title and downplaying the means of their livelihood. Borden concentrated on the similarities of her characters' lives to those of other working women.

Another antinarrative approach adopted by women directors is to undermine the notion of a single voice, that of the main character in the narrative. Traditionally, the main character is the dramatic vehicle for the point of view, the point of empathy and the point of identification. By sidestepping a single point of view, the traditional arc of the narrative is undermined. Two specific examples will illustrate.

Agnieszka Holland was already established as a director who explored new narrative approaches (she uses a mixed genre approach in her film Europa, Europa [1991]; see next section on mixing genres) when she made Olivier, Olivier (1992).

Olivier, Olivier is a story about a family tragedy. In rural France, a middle-class family has two children, an older daughter and a young son. The boy is clearly the focal point of the family for the mother. The older sibling is ignored. She is also the family member who doesn't quite fit in, a role that often evolves into the scapegoat in family dynamics. One day, the young boy is sent off to deliver lunch to his father's mother. He never returns. In spite of extensive investigation, there is no trace of the boy. The family disintegrates. The local detective is transferred to Paris, determined not to give up on the case. Six years later, he finds a street kid, aged 15, who looks like the disappeared Olivier. He is certain he has found the boy. So is the mother. Only the sister is suspicious. The father, who had left the family to work in Africa, returns. Just as Olivier returns, the family seems to heal, to be whole again. The mother, who had all but fallen apart and blamed the father for Olivier's disappearance, for the first time in years is happy.

The new Olivier seems happy, eccentric, but not poorly adjusted given his trauma. He wants to be part of this family. But one day he discovers the neighbor molesting a young boy and when the police are called, Olivier confesses that he is not the original Olivier and the killer admits to killing the original Olivier. What is to happen to this family who have already endured so much tragedy? Will they relive the original tragedy with all its profound loss? Or will the mother deny again the loss and try for a new life with the new Olivier?

What is interesting about Holland's narrative approach is that she does not privilege any one character over any other. The story presents the point of view of the mother, the father, the sister, Olivier, the new Olivier.

If Holland had chosen a single point of view, a sense of resolution might have resulted in the discovery of the fate of Olivier. Without a single point of view, we have far less certainty. Indeed we are left totally stranded in this family tragedy. And the consequence is a profound shock at the end of Olivier, Olivier. This is the direct result of the multiple perspectives Holland has chosen.

Julie Dash follows a singular narrative path in her film Daughters of the Dust (1991). However her purpose is quite different from Agnieszka Holland. Whereas Holland is looking to destabilize our identification with the multiple points of view in Olivier, Olivier, Julie Dash wants to stabilize and generalize the point of view: the multiple perspectives together represent the African-American diaspora experience in the most positive light.

Daughters in the Dust takes place in a single summer day in 1902, in the Sea Islands of the South. Those Sea Islands are off the coast of South Carolina and Georgia. On the islands, life has become a hybrid, not African and not American. The elderly matriarch of the family will stay behind, but she has encouraged her children to go north to the mainland to make a life. She has also told them not to forget who they are. She will remain to die in her home at Ibo Landing.

Julie Dash deals with the feelings that surround this leavetaking with the points of view of the matriarch, her daughters, a niece from the mainland

(called Yellow Mary), and an unborn granddaughter who narrates the beginning and end of the story. No single voice is privileged over any other.

The conflicts around behavior—a granddaughter has been impregnated via a rape, Yellow Mary may have made her way on the mainland through prostitution, a granddaughter has an Indian-American lover with whom she may want to remain on the island—all dim next to the conflictual future these migrants may face when they move north.

In order to create a sense of tolerance and power in the women, Dash presents the men as the weaker, more emotional sex. She also empowers a matriarch as the focal center of the life of the entire family. By doing so, she diminishes the sense of tension and conflict among the women and emphasizes their collective power and stability. Together they are the family and the purveyors of continuity for the family. And by giving one of the voices—the unborn child—the privileged position of early and closing narrator, Dash frames a voice for the future. But even that voice depends for life on the continuity of family.

Consequently in Daughters in the Dust, Julie Dash uses multiple points of view to sidestep linearity and to instead emphasize the circularity of the life cycle. It is strong, stable, and ongoing.

Although these directors did not proceed to a pattern of circular narrative as von Trotta did, there is no question that each is working against the conventions of the narrative tradition.

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