The anthology explores contemporary women’s cinema in relation to issues related to gender and globalization. The anthology gathers scholars from several parts of the world – from Italy, the USA, Turkey, Iran, Greece, New Zealand, Argentina, Germany and Canada. Such a global perspective is mirrored in the book’s content: the essays consider women’s production in the domain of cinema by looking at various films and filmmakers around the globe and by tackling the relation between national, transnational and global contexts in film production. What comes out is a multifaceted picture showing that women filmmakers, and especially non- Western filmmakers, are key social actors able to narrate the complexities of the current geopolitical condition and of its subjects. Table of Contents: Introduction Veronica Pravadelli PART I: WOMEN’S CINEMA AND NATIONAL/TRANSNATIONAL/GLOBAL SCENARIOS1. Traumatic Dystopian Futurist Scenarios: Documentary Film, Gender, an Witnessing in Jennifer Baichwal’s Manufactured LandscapesE. Ann Kaplan 2. Female Friendship, Globalization and Women’s Filmmakingin the MediterraneanVeronica Pravadelli 3. Gendered Borderlands: Screens as Contact Zones in Contemporary Women’s Cinema in IndiaNeepa Majumdar 4. Global Change as a Scenario in Recent Films by British Women DirectorsAntonia Lant 5. Crossingthe (Inner) Borders: Aesthetics and Identity Policies in Contemporary European CinemaIlaria A. De Pascalis PART II: WOMEN’S CINEMA AND NATIONAL CINEMAS6. Everyday Labyrinths: Bodies of Memory in the Films of Verónica ChenAdrián Pérez Melgosa 7. No Country for Women? The Place of Top of the Lake and Perfect Strangersin New Zealand CinemaHilary Radner 8. Women Filmmakers in Contemporary Greece ElizaAnna Delveroudi 9. Perceptions of Feminismin Iranian Women’s CinemaSomayeh Ghazizadeh PART III: THEORIES AND FORMS OF AUTHORSHIP10. Colonial Imaginaries: White Women and World Cinema AuthorshipPatricia White 11. The Sound of Place/The Place of Sound: Lucrecia Martel’s Acoustic ImaginaryKathleen M. Vernon 12. Out of Step with Autobiographical Temporality: The Politics of the Affective in Petra Costa’s ElenaLuz Horne 13. The Topographies of Ethnicity in Kym Ragusa’s Passing, fuori/outside, and The Skin Between UsSabrina Vellucci 14. Subversive Strategies in Lucrecia Martel’s CinemaUta Felten 15. Visual Encounters in Lost and Delirious and Blue Is the Warmest ColorMaria Anita Stefanelli PART IV: WOMEN’S CINEMA AND NEW FORMS OF PRODUCTION AND DISTRIBUTION16. Her Blog: Women’s Cinema in the Digital AgeRosanna Maule 17. Women Make Movies and the Politics of Contemporary Feminist Film DistributionKristen M. Fallica 18. NestingInstincts? Women Filmmakers and TV Directors in TurkeyMelis Behlil Biographies