ABSTRACT An Asian woman filmmaker whose work is celebrated and financed in Europe yet produced in her hometown of Nara, Japan, Kawase Naomi's creative trajectory is often made to trace an economy of ‘world cinema’ sketching constructions of gender, race and nation in uneasy relation to actual patterns of reception and production. While her early self-documentary shorts are described according to artistic vision, her later arthouse features are judged for their circulation on the international film festival circuit. Yet these impulses toward aesthetic and institutional analysis are seldom integrated into a critical appreciation of the breadth of Kawase's work. This article examines a transitional period of the director's filmography in which scenes of home birth repeat across her dramatic and documentary work, placing them in context with discourses of self-documentary and personal filmmaking that aestheticize birth and sex to interrogate the act of self-expression, and challenge gendered constructions of the artist and formation of a ‘natural’ life against a cultural mainstream. While her work is criticized as narcissistically apolitical by a masculinist domestic film culture, approaching Kawase's material and institutional self-inscription reveals a feminist mediation in productive tension with neoliberal globalization's cinema of regional consumption.

中文翻译：

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家庭诞生，世界电影：川濑直美的电影发行

摘要：川濑直美（Kawase Naomi）的一位亚洲女性电影摄制人，其作品在欧洲受到庆祝和资助，但在其日本奈良市制作，其创作轨迹通常是为了描绘“世界电影”的经济状况，勾勒出性别，种族和民族之间不安的关系到接收和生产的实际模式。根据艺术的眼光描述了她早期的纪录片短裤，而后来的艺术馆作品则因其在国际电影节巡回演出中的流传而受到评价。然而，这些对美学和制度分析的冲动很少被纳入对川濑作品广度的批判性评价中。本文考察了导演的电影摄影过渡时期，在该时期，她的戏剧作品和纪录片作品都重复了家庭出生的场景，通过自我纪录片和个人电影制作的话语将他们置于背景之中，这些话语使出生和性别美化，以质问自我表达的行为，并挑战艺术家的性别结构和文化主流反对“自然”生活的形成。尽管她的作品被男性主义的国内电影文化批评为自恋的非政治性人物，但接近川濑的材料和制度自我铭刻，却揭示了新自由主义全球化的地区消费电影在生产张力中的女权主义调解。