Feminist Film Theory: A Reader

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This anthology seeks to chart the history of those debates, bringing together the key statements in feminist film theory in Britain and the United States since The book maps the impact of major theoretical developments in this growing field - from structuralism and psychoanalysis to post-colonial theory, queer theory and postmodernism in the s - interms of both theoretical shifts and changes in methodologies.

Organised into six sections, the readings deal with a wide range of topics: oppressive images; woman as fetishised object of desire; female spectatorship; film audiences; issues of fantasy and desire in popular film; and the cinematic pleasures of black women and lesbian women. The centrality of a feminist politics of vision unites all the readings in this book. Toon meer Toon minder.

Recensie s Like feminist theory in general, feminist film theory has undergone considerable change and revision since its heady days of the early s. This collection of 23 representative essays and extracts illustrates this history extremely well, providing a useful framework for understanding the variety to be found in feminist film analysis The range of material, and helpful introductions, make this an ideal teaching text.

Like feminist theory in general, feminist film theory has undergone considerable change and revision since its heady days of the early s.

Feminist film theory

Reviews Schrijf een review. Bindwijze: Paperback. Verwacht over 7 weken Levertijd We doen er alles aan om dit artikel op tijd te bezorgen. Verkoop door bol. In winkelwagen Op verlanglijstje. Gratis verzending 30 dagen bedenktijd en gratis retourneren Ophalen bij een bol. Anderen bekeken ook. Robert Howard Feminist Film Theory 36, Rich goes on to say that because of this feminist theory needs to focus on how film by women are being received.

Carol Clover , in her popular and influential book, Men, Women, and Chainsaws : Gender in the Modern Horror Film Princeton University Press, , argues that young male viewers of the Horror Genre young males being the primary demographic are quite prepared to identify with the female-in-jeopardy, a key component of the horror narrative, and to identify on an unexpectedly profound level. Clover further argues that the " Final Girl " in the psychosexual subgenre of exploitation horror invariably triumphs through her own resourcefulness, and is not by any means a passive, or inevitable, victim.

Laura Mulvey, in response to these and other criticisms, revisited the topic in "Afterthoughts on 'Visual Pleasure and Narrative Cinema' inspired by Duel in the Sun " In addressing the heterosexual female spectator, she revised her stance to argue that women can take two possible roles in relation to film: a masochistic identification with the female object of desire that is ultimately self-defeating or a transsexual identification with men as the active viewers of the text. From Wikipedia, the free encyclopedia. Part of a series on Feminism History.

Women's Cinema as Counter Cinema [IN] Feminist film theory: a reader

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Carol J. White Linda Williams. Martin's Press, Page Patricia Erens, ed. Bloomington: Indiana University Press, Erens, Patricia, Bloomington: Indiana University Press. Leeds: I. Tauris Memory, Time and Audibility. Palgrave Macmillan. Ettinger, The Matrixial Gaze. Published by Leeds University, London: I.

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Rutledge, Issues in Feminist Film Criticism. Indiana University Press. Retrieved October 27, Retrieved August 27, New York: Horizon Press, , pp — Bloomington: Indiana University Press, , pp. Amelia Jones, ed.

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Feminist Film Theory

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