Introducing ‘the cinema of we’ in her analysis of two female documentaries, Putman attempts to redefine ‘first person film’ as she links it to autoethnography.
Catherine Putman
Catherine Putman has MA and BA degrees in Film Studies from the University of Sussex.
From a working-class background, and striving to make changes in her life, Catherine
proudly gained her degrees as a mature student after a 30-year gap in education. Catherine
writes on the films of Carol Morley, Andrea Arnold, Clio Barnard, Kelly Reichardt and
Lucrecia Martel.
WHO SUPPORTS US
The team of MAI supporters and contributors is always expanding. We’re honoured to have a specialist collective of editors, whose enthusiasm & talent gave birth to MAI.
However, to turn our MAI dream into reality, we also relied on assistance from high-quality experts in web design, development and photography. Here we’d like to acknowledge their hard work and commitment to the feminist cause. Our feminist ‘thank you’ goes to:
Dots+Circles – a digital agency determined to make a difference, who’ve designed and built our MAI website. Their continuous support became a digital catalyst to our idealistic project.
Guy Martin – an award-winning and widely published British photographer who’s kindly agreed to share his images with our readers
Chandler Jernigan – a talented young American photographer whose portraits hugely enriched the visuals of MAI website
Matt Gillespie – a gifted professional British photographer who with no hesitation gave us permission to use some of his work
Julia Carbonell – an emerging Spanish photographer whose sharp outlook at contemporary women grasped our feminist attention
Ana Pedreira – a self-taught Portuguese photographer whose imagery from women protests beams with feminist aura
And other photographers whose images have been reproduced here: Cezanne Ali, Les Anderson, Mike Wilson, Annie Spratt, Cristian Newman, Peter Hershey