This survey of Sally Potter's work explores her cinematic
development from the feminist reworking of La Boheme 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, cliches, 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.
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