Evolving from the analysis of representations of women in film, feminist film theory asks questions about identity, sexuality, and the politics of spectatorship.
The Film Theory in Practice series fills a gaping hole in the world of film theory. By marrying the explanation of a film theory with the interpretation of a film, the volumes provide discrete examples of how film theory can serve as the basis for textual analysis. Feminist Film Theory and Cléo from 5 to 7 offers a concise introduction to feminist film theory in jargon-free language and shows how this theory can be deployed to interpret Agnes Varda's critically acclaimed 1962 film Cléo from 5 to 7. Hillary Neroni employs the methodology of looking for a feminist alternative among female-oriented films. Through three key concepts-identification, framing the woman's body, and the female auteur-Neroni lays bare the debates and approaches within the vibrant history of feminist film theory, providing a point of entry to feminist film theory from its inception to today. Picking up one of the currents in feminist film theory - that of looking for feminist alternatives among female-oriented films - Neroni traces feminist responses to the contradictions inherent in most representations of women in film, and she details how their responses have intervened in changing what we see on the screen.
About the Book Girl Head shows how gender has had a surprising and persistent role in film production processes, well before the image ever appears onscreen. Book Synopsis Girl Head shows how gender has had a surprising and persistent role in film production processes, well before the image ever appears onscreen. For decades, feminist film criticism has focused on issues of representation: images of women in film. But what are the feminist implications of the material object underlying that image, the filmstrip itself? What does feminist analysis have to offer in understanding the film image before it enters the realm of representation? Girl Head explores how gender and sexual difference have been deeply embedded within film materiality. In rich archival and technical detail, Yue examines three sites of technical film production: the film laboratory, editing practices, and the film archive. Within each site, she locates a common motif, the vanishing female body, which is transformed into material to be used in the making of a film. The book develops a theory of gender and film materiality through readings of narrative film, early cinema, experimental film, and moving image art. This original work of feminist media history shows how gender has had a persistent role in film production processes, well before the image ever appears onscreen. From the Back Cover "Girl Head is a cogent, imaginative, and important book about the gendered underpinnings of the materials of cinema. It is an important contribution to feminist film history, and to film studies more generally."--Catherine Russell, Concordia University "In this surprising and immensely pleasurable read, Yue reveals a hidden history of disappearing female bodies and their link to the materiality of film and its technical processes. Girl Head is a brilliant and original book and sure to be an important reference for media historians and film theorists alike."--Nico Baumbach, Columbia University For decades, feminist film criticism has focused on issues of representation: images of women in film. But what are the feminist implications of the material object underlying that image, the filmstrip itself? What does feminist analysis have to offer in understanding the film image before it enters the realm of representation? Girl Head explores how gender and sexual difference have been deeply embedded within film materiality. In rich archival and technical detail, Yue examines three sites of technical film production: the film laboratory, editing practices, and the film archive. Within each site, she locates a common motif, the vanishing female body, which is transformed into material to be used in the making of a film. The book develops a theory of gender and film materiality through readings of narrative film, early cinema, experimental film, and moving image art. This original work of feminist media history shows how gender has had a persistent role in film production processes, well before the image ever appears onscreen. Genevieve Yue is Assistant Professor of Culture and Media and director of the Screen Studies program at Eugene Lang College, the New School. Review Quotes Girl Head is a cogent, imaginative, and important book about the gendered underpinnings of the materials of cinema. It is an important contribution to feminist film history and to film studies more generally.---Catherine Russell, Concordia UniversityIn this surprising and immensely pleasurable read, Yue reveals a hidden history of disappearing female bodies and their link to the materiality of film and its technical processes. Girl Head is a brilliant and original book and sure to be an important reference for media historians and film theorists alike.---Nico Baumbach, Columbia University About the Author Genevieve Yue is an assistant professor of in the Department of Culture and Media and director of the Screen Studies program at Eugene Lang College, the New School. Her essays and criticism have been published in October, Grey Room, The Times Literary Supplement, Reverse Shot, Artforum .com, Film Comment, and Film Quarterly. She is also an independent film programmer and serves on the Board of Trustees for the Flaherty Film Seminar.
First Published in 1988. Routledge is an imprint of Taylor & Francis, an informa company.\nFirst published in 1988. Feminism and Film Theory traces the major issues in feminist film theory as they have evolved over the last decade. Comprised of essays that are classics of this intellectually sophisticated area of cultural studies, Feminism and Film Theory makes available much sought after essays that are often difficult to find. Empha-sizing the polemical challenge of feminism to film theory, this anthology forces us to reconsider film theory's most basic ideas about genre, narrative, image, spec-tatorship, and audience. The essays offer a model for a politically engaged critique of contemporary thought. Feminism and Film Theory will be of great interest to students and scholars concerned with film, critical theory, art and media, cultural studies, or feminism.
In her works like Speculum of the Other Woman (translated 1985) and This Sex Which is Not One (1987), Luce Irigaray has argued that the woman has been constructed as the specular Other of man in al…
Narrative theory is essential to everything from history to lyric poetry, from novels to the latest Hollywood blockbuster. Narrative theory explores how stories work and how we make them work. This Companion is both an introduction and a contribution to the field. It presents narrative theory as an approach to understanding all kinds of cultural production: from literary texts to historiography, from film and videogames to philosophical discourse. It takes the long historical view, outlines essential concepts, and reflects on the way narrative forms connect with and rework social forms. The volume analyzes central premises, identifies narrative theory's feminist foundations, and elaborates its significance to queer theory and issues of race. The specially commissioned essays are exciting to read, uniting accessibility and rigor, traditional concerns with a renovated sense of the field as a whole, and analytical clarity with stylistic dash. Topical and substantial, The Cambridge Companion to Narrative Theory is an engaging resource on a key contemporary concept. | Author: Matthew Garrett | Publisher: Cambridge University Press | Publication Date: Oct 31, 2018 | Number of Pages: 298 pages | Language: English | Binding: Hardcover/Literary Criticism | ISBN-10: 1108428479 | ISBN-13: 9781108428477
Children play in safety on the beach beyond my window. Some aren't safe at home, but they do not die in rocket attacks. Along our promenade, this…
In honor of International Women’s Day, Women’s History Month, and all women everywhere, we asked the all-volunteer staff at VIDA to tell us about the books that changed their lives. Ran…
Cinema and psychoanalysis were born around the same time. In 1895 the Grand Café of Paris hosted the first movie event of history, while at the same time Studies in Hysteria by Joseph Breuer and Si…
Master's Thesis from the year 2009 in the subject American Studies - Literature, grade: A, University of Belgrade (Anglistics Department), course: English and American Literature, language: English, abstract: This paper gives a brief overview of Hawthorne¿s most important and famous work 'The Scarlet Letter' from the point of view of five contemporary theories of criticism: Psychoanalytic Criticism, Reader-Response Criticism, Feminist Criticism, Deconstruction and The New Historicism. 'The Scarlet Letter' was first published in 1850, but its genesis can be found in tales and sketches Hawthorne wrote some years before he began to work on this novel. Being a Puritan descendent, in one of those sketches from 1845 he speculates about what life would be like for a young woman who would be condemned always to wear the letter A for having committed adultery. For Hawthorne this is a moral tale, the wild rose in the opening chapter points out the novel¿s moral purpose: it is our duty to show to the world our true nature.
There's no room for nuance online.
Do films made by women comprise a \"counter-cinema\" radically different from the dominant tradition? Feminist film critics contend that women filmmakers do present from a distinctive vision, or \"countershot,\" and Lucy Fischer argues persuasively for this view. In rich detail this book relates the idea of a counter-cinema to theories of intertextuality and locates it in the broad context of recent feminist film, literary, and art criticism. Fischer also employs an original critical model of the dialogue between women's cinema and film tradition in the very organization of the book. Each chapter discusses a theme or genre (such as the musical, the \"double,\" the myth of womanhood, and the figure of the actress), counterposing two or more works--from the feminist and from the dominant cinema. What emerges is a fascinating picture of a women's film tradition that not only addresses but reworks and remakes the mainstream cinema. Fischer successfully combines two main strains of feminist criticism: the deconstructive critique of the dominant culture from a feminist standpoint and the study of a feminist counterculture. Examining films from Persona and The Lady from Shanghai to Girlfriends and Sisters, or the Balance of Happiness, the book offers fresh interpretations of individual works and can, incidentally, serve as an introduction to the field of feminist film criticism. Originally published in 1989. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
About the Book "Architecture and the arts have long been on the forefront of socio-spatial struggles, in which equality, access, representation and expression are at stake in our cities, communities and everyday lives. Feminist spatial practices contribute substantially to new forms of activism, expanding dialogues, engaging materialisms, transforming pedagogies, and projecting alternatives. 'Feminist Futures of Spatial Practice' traces practical tools and theoretical dimensions, as well as temporpralities, emergence, histories, events, durations ? and futures ? of feminist practices. Authors include international practitioners, researchers, and educators, from architecture, the arts, art history, curating, cultural heritage studies, environmental sciences, futures studies, film, visual communication, design and design theory, queer, intersectional and gender studies, political sciences, sociology, and urban planning. Established as well as emerging voices write critically from within their institutions, professions, and their activist, political and personal practices."--Page [4] of cover. Book Synopsis Architecture and the arts have long been on the forefront of socio-spatial struggles, in which equality, access, representation and expression are at stake in our cities, communities and everyday lives. Feminist spatial practices contribute substantially to new forms of activism, expanding dialogues, engaging materialisms, transforming pedagogies, and projecting alternatives. Feminist futures of Spatial Practice traces practical tools and theoretical dimensions, as well as temporalities, emergence, histories, events, durations - and futures - of feminist practices. Authors include international practitioners, researchers, and educators, from architecture, the arts, art history, curating, cultural heritage studies, environmental sciences, futures studies, lm, visual communication, design and design theory, queer, intersectional and gender studies, political sciences, sociology, and urban planning. Established as well as emerging voices write critically from within their institutions, professions, and their activist, political and personal practices. Feminist futures of Spatial Practice deepens and broadens how we can understand and engage with different genders, bodies and peoples, diverse voices and forms of expression, alternative norms and ways of living together. Contributions by Mariana Alves Silva, Jenny Andreasson, Nishat Awan, Katarina Bonnevier, Karin Bradley, Sara Brolund de Carvalho, Brady Burroughs, Ragnhild Claesson, Yvonne P. Doderer, Macarena Dusant, Annika Enqvist, Maryam Fanni, Liza Fior, Hélène Frichot, Katja Grillner, Ulrika Gunnarsson-Östling, Sophie Handler, Nel Janssens, Elke Krasny, Thérèse Kristiansson, Anja Linna, Nina Lykke, Helena Mattsson, Ramia Mazé, Irene Molina, Ruth Morrow, Jane da Mosto, MYCKET, Doina Petrescu, Julieanna Preston, Rehearsals (Petra Bauer, Sofia Wiberg, Marius Dybwad Brandrud, Rebecka Thor), Helen Runting, Nora Räthzel, Meike Schalk, Despina Stratigakos, Kristoffer Svenberg, The New Beauty Council, Kim Trogal, and Josefin Wangel.
Do films made by women comprise a "counter-cinema" radically different from the dominant tradition? Feminist film critics contend that women filmmakers do present from a distinctive vision, or "countershot," and Lucy Fischer argues persuasively for this view. In rich detail this book relates the idea of a counter-cinema to theories of intertextuality and locates it in the broad context of recent feminist film, literary, and art criticism. Fischer also employs an original critical model of the dialogue between women's cinema and film tradition in the very organization of the book. Each chapter discusses a theme or genre (such as the musical, the "double," the myth of womanhood, and the figure of the actress), counterposing two or more works--from the feminist and from the dominant cinema. What emerges is a fascinating picture of a women's film tradition that not only addresses but reworks and remakes the mainstream cinema. Fischer successfully combines two main strains of feminist criticism: the deconstructive critique of the dominant culture from a feminist standpoint and the study of a feminist counterculture. Examining films from Persona and The Lady from Shanghai to Girlfriends and Sisters, or the Balance of Happiness, the book offers fresh interpretations of individual works and can, incidentally, serve as an introduction to the field of feminist film criticism. Originally published in 1989. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. | Author: Lucy Fischer | Publisher: Princeton University Press | Publication Date: Apr 19, 2016 | Number of Pages: 362 pages | Language: English | Binding: Hardcover/Performing Arts | ISBN-10: 0691637539 | ISBN-13: 9780691637532
Bigelow, who recently finished editing “Zero Dark Thirty,” her film about the killing of Osama bin Laden, used to hang out with Susan Sontag and Philip…
The nexus of psychoanalytic, literary, and philosophical approaches in this book focuses on an intertextual reading of Woolf and Kristeva in order to address the enigma of the persistent suppression of women's contributions to culture. In spite of the efforts of feminist theory and history to turn the tide, this process is with us still. "I am the first of a new genus" (Mary Wollstonecraft). "When I looked around, I saw and heard of none like me" (Mary Shelley). "I look everywhere for grandmothers and find none" (Elizabeth Barrett Browning). "Why isn't there a tradition of the mothers?" (Virginia Woolf). "Women have 'no past, no history'" (Simone de Beauvoir). "I look for myself throughout the centuries and I don't see myself anywhere" (Helene Cixous). As Woolf noted, "strange spaces of silence" separate the solitary female utterances throughout history. The brutal vicissitudes of the contemporary reception of feminist thinkers, crushed between traditional academia and an anti-intellectualism that describes itself as activism, are symptoms of the fact that the conditions, which produced the "strange spaces of silence" and made the repetitive generic loneliness from Wollstonecraft to Cixous possible, are still operative. They have found their way into the present age as "reactionary conformity that manages to discredit any notion of feminine specificity or freedom that is not based on seduction–which means not based on reproduction and consumption" (Kristeva). The intertextual approach to Kristeva and Woolf brings to light "matricide" as the silent engine behind the stammering of female temporality. "Matricide" is offered as an entrance to the conceptualization of the cultural ramifications of a language that wavers between hypnotic passion and murder. As Joan Scott has demonstrated, the oscillations between phantasies of uniqueness and phantasies of fusion are characteristic of women's movements. Matricide in Language claims that these fantasies are subtended by imaginary matricide and that they can explain the extreme discursive practices that are characteristic of the debate in and around feminism.
Nine texts to introduce and re-introduce yourself to the groundbreaking scholar’s work.
This volume offers a fresh appraisal of the importance of Bertolt Brecht's theory and practice through the documentation of his influence on other dramatists and directors, the examination of how his plays have been interpreted on stage and how his theories have been modified by his followers, and through a selection of the most challenging recent critical approaches to his work. Consideration is also taken of Brecht's influence on contemporary film criticism and his importance for feminist film and theatre. The book will be of interest to scholars and students of drama, literature, German studies and film.
Praising Sophie Hyde's debut feature, Sophie Mayer asserts you will never look at a Tuesday in quite the same way
About the Book Girl Head shows how gender has had a surprising and persistent role in film production processes, well before the image ever appears onscreen. Book Synopsis Girl Head shows how gender has had a surprising and persistent role in film production processes, well before the image ever appears onscreen. For decades, feminist film criticism has focused on issues of representation: images of women in film. But what are the feminist implications of the material object underlying that image, the filmstrip itself? What does feminist analysis have to offer in understanding the film image before it enters the realm of representation? Girl Head explores how gender and sexual difference have been deeply embedded within film materiality. In rich archival and technical detail, Yue examines three sites of technical film production: the film laboratory, editing practices, and the film archive. Within each site, she locates a common motif, the vanishing female body, which is transformed into material to be used in the making of a film. The book develops a theory of gender and film materiality through readings of narrative film, early cinema, experimental film, and moving image art. This original work of feminist media history shows how gender has had a persistent role in film production processes, well before the image ever appears onscreen. From the Back Cover "Girl Head is a cogent, imaginative, and important book about the gendered underpinnings of the materials of cinema. It is an important contribution to feminist film history, and to film studies more generally."--Catherine Russell, Concordia University "In this surprising and immensely pleasurable read, Yue reveals a hidden history of disappearing female bodies and their link to the materiality of film and its technical processes. Girl Head is a brilliant and original book and sure to be an important reference for media historians and film theorists alike."--Nico Baumbach, Columbia University For decades, feminist film criticism has focused on issues of representation: images of women in film. But what are the feminist implications of the material object underlying that image, the filmstrip itself? What does feminist analysis have to offer in understanding the film image before it enters the realm of representation? Girl Head explores how gender and sexual difference have been deeply embedded within film materiality. In rich archival and technical detail, Yue examines three sites of technical film production: the film laboratory, editing practices, and the film archive. Within each site, she locates a common motif, the vanishing female body, which is transformed into material to be used in the making of a film. The book develops a theory of gender and film materiality through readings of narrative film, early cinema, experimental film, and moving image art. This original work of feminist media history shows how gender has had a persistent role in film production processes, well before the image ever appears onscreen. Genevieve Yue is Assistant Professor of Culture and Media and director of the Screen Studies program at Eugene Lang College, the New School. Review Quotes Girl Head is a cogent, imaginative, and important book about the gendered underpinnings of the materials of cinema. It is an important contribution to feminist film history and to film studies more generally.---Catherine Russell, Concordia UniversityIn this surprising and immensely pleasurable read, Yue reveals a hidden history of disappearing female bodies and their link to the materiality of film and its technical processes. Girl Head is a brilliant and original book and sure to be an important reference for media historians and film theorists alike.---Nico Baumbach, Columbia University About the Author Genevieve Yue is an assistant professor of in the Department of Culture and Media and director of the Screen Studies program at Eugene Lang College, the New School. Her essays and criticism have been published in October, Grey Room, The Times Literary Supplement, Reverse Shot, Artforum .com, Film Comment, and Film Quarterly. She is also an independent film programmer and serves on the Board of Trustees for the Flaherty Film Seminar.
Introduce students to a few important critical reading lenses. The appraoch can be simple and engaging. Try these lessons with high school students.
*UPDATE: A new interview between Winona Ryder and Tavi Gevinson (Mary Warren in the Broadway revival) added to the section on The Crucible! American literature loves a good female villain. A woman who is too sexual, jealous, emotional, or ignorant. But isn't there more to this stereotypical female villain? As an extension to the classics we ...
Conflict Bodies: The Politics of Rape Representation in the Francophone Imaginary explores the relationship between rape and narratives of violence in francophone literature and culture. The book offers ways to account for the raped bodies beneath the conflicts of slavery, genocide, dictatorship, natural disasters, and war-and to examine why doing so is necessary. Through a feminist analysis of the rhetoric and representation of rape in francophone African and Caribbean cultural production, "Conflict Bodies" examines theoretical, visual, and literary texts that challenge the dominant views of postcolonial violence. Using an interdisciplinary and comparative framework to consider different contexts-Haiti, Guadeloupe, Rwanda, and Democratic Republic of the Congo-Regine Michelle Jean-Charles illuminates how analyzing survivors' subjectivities, stories, and embodied experiences provides a nuanced understanding of what is at stake in rape representation. Referencing theories from francophone literary studies, transnational black feminisms, and rape cultural criticism to analyze novels, film, photography, drama, and documentaries, Jean-Charles argues that in today's global climate-where one in three women worldwide has been raped, rape is being used as a tool of war, and rape myths circulate with vehemence-traditional "scripts of violence" that fail to account for sexual violence demand refusal, re-thinking, and re-imagining. Regine Michelle Jean-Charles is assistant professor of romance languages and literatures and in the African and African Diaspora Studies Program at Boston College." | Author: R?gine Michelle Jean-Charles | Publisher: Ohio State University Press | Publication Date: Jun 01, 2016 | Number of Pages: 336 pages | Language: English | Binding: Paperback/Literary Criticism | ISBN-10: 0814252931 | ISBN-13: 9780814252932
This volume examines the films of Hispanic and Lusophone women filmmakers from the 1930s to the present day. It establishes productive connections between film practices across these geographical areas by identifying common areas of concern on the part of these female filmmakers. Focusing on aesthetic, theoretical and socio-historical analyses, it questions the manifest or latent gender and sexual politics that inform and structure the emerging cinematic productions by women filmmakers in Portugal, Spain, Latin America and the US. With a combination of scholars from the UK, the US, Spain and Latin America, the volume documents and interprets a fascinating corpus of films made by Hispanic and Lusophone women and proposes research strategies and methodologies that can expand our understanding of socio-cultural and psychic constructions of gender and sexual politics. An essential resource to rethink notions of gender identity and subjectivity, it is a unique contribution to Spanish and Latin American Film Studies and Film Studies.
Book Synopsis This lively and engaging text introduces students to the key contemporary issues in the study of gender and the media. Integrating cultural theory with text-based criticism, Gender in the Media analyses recent debates in feminist cultural theory, masculinity studies and queer theory, before applying these cultural paradigms to critical readings in relevant media contexts. Richardson and Wearing address a wide range of new media texts and topics, covering television dramas, make-over shows, life-style magazines, internet dating and more. Critical, current and far-reaching, this book is invaluable for all students of media and gender studies, as well as for anyone interested in gender representation in different media forms. From the Back Cover This lively and engaging text introduces students to the key contemporary issues in the study of gender and the media. Integrating cultural theory with text-based criticism, Gender in the Media analyses recent debates in feminist cultural theory, masculinity studies and queer theory, before applying these cultural paradigms to critical readings in relevant media contexts. Richardson and Wearing address a wide range of new media texts and topics, covering television dramas, make-over shows, life-style magazines, internet dating and more. Critical, current and far-reaching, this book is invaluable for all students of media and gender studies, as well as for anyone interested in gender representation in different media forms. About the Author Niall Richardson is Senior Lecturer in Media and Film at the University of Sussex, UK. Sadie Wearing is Lecturer in Gender Theory, Culture and Media at the London School of Economics, UK.Niall Richardson is Senior Lecturer in Media and Film at the University of Sussex, UK. Sadie Wearing is Lecturer in Gender Theory, Culture and Media at the London School of Economics, UK.
Synopsis Expand/Collapse Synopsis In this pathbreaking work, Jasbir K. Puar argues that configurations of sexuality, race, gender, nation, class, and ethnicity are realigning in relation to contemporary forces of securitization, counterterrorism, and nationalism. She examines how liberal politics incorporate certain queer subjects into the fold of the nation-state, through developments including the legal recognition inherent in the overturning of anti-sodomy laws and the proliferation of more mainstream representation. These incorporations have shifted many queers from their construction as figures of death (via the AIDS epidemic) to subjects tied to ideas of life and productivity (gay marriage and reproductive kinship). Puar contends, however, that this tenuous inclusion of some queer subjects depends on the production of populations of Orientalized terrorist bodies. Heteronormative ideologies that the U.S. nation-state has long relied on are now accompanied by homonormative ideologies that replicate narrow racial, class, gender, and national ideals. These “homonationalisms” are deployed to distinguish upright “properly hetero,” and now “properly homo,” U.S. patriots from perversely sexualized and racialized terrorist look-a-likes—especially Sikhs, Muslims, and Arabs—who are cordoned off for detention and deportation. Puar combines transnational feminist and queer theory, Foucauldian biopolitics, Deleuzian philosophy, and technoscience criticism, and draws from an extraordinary range of sources, including governmental texts, legal decisions, films, television, ethnographic data, queer media, and activist organizing materials and manifestos. Looking at various cultural events and phenomena, she highlights troublesome links between terrorism and sexuality: in feminist and queer responses to the Abu Ghraib photographs, in the triumphal responses to the Supreme Court’s Lawrence decision repealing anti-sodomy laws, in the measures Sikh Americans and South Asian diasporic queers take to avoid being profiled as terrorists, and in what Puar argues is a growing Islamophobia within global queer organizing.
With depressing statistics about the number of women in the film industry so often the focus of articles, twitter tirades and debates, we decided to take a different approach with this feature: to celebrate pioneering female film critics, as well as uncover those under-appreciated and forgotten voices.
