This field-defining collection establishes unfinished film
projects—abandoned, interrupted, lost, or open-ended—as rich
and underappreciated resources for feminist film and media studies.
In deeply researched and creatively conceived chapters, scholars
join with film practitioners in approaching the unfinished film as
an ideal site for revealing the lived experiences, practical
conditions, and institutional realities of women's film production
across historical periods and national
borders. Incomplete recovers projects and practices
marginalized in film industries and scholarship alike, while also
showing how feminist filmmakers have cultivated incompletion as an
aesthetic strategy. Objects of loss and of possibility,
incomplete films raise profound historiographical and ethical
questions about the always unfinished project of film history, film
spectatorship, and film studies.
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