LEADER 06122nam 2200637 450 001 9910826657503321 005 20231109165121.0 010 $a1-4744-7322-9 010 $a0-585-15917-3 024 7 $a10.1515/9781474473224 035 $a(CKB)111000211278246 035 $a(MH)008089920-X 035 $a(SSID)ssj0000154167 035 $a(PQKBManifestationID)12046509 035 $a(PQKBTitleCode)TC0000154167 035 $a(PQKBWorkID)10406872 035 $a(PQKB)11082004 035 $a(MiAaPQ)EBC6141753 035 $a(DE-B1597)614228 035 $a(DE-B1597)9781474473224 035 $a(EXLCZ)99111000211278246 100 $a20200621h20111999 uy 0 101 0 $aeng 135 $aurcnu|||||||| 181 $ctxt 182 $cc 183 $acr 200 00$aFeminist film theory $b[electronic resource]$ea reader /$fedited and introduced by Sue Thornham 210 1$aEdinburgh :$cEdinburgh University Press,$d2011. 210 4$dİ1999 215 $a1 online resource (vi, 361 p. ) 300 $aBibliographic Level Mode of Issuance: Monograph 311 $a0-7486-0959-8 320 $aIncludes bibliographical references (p. [350]-351) and index. 327 $tFrontmatter --$tCONTENTS --$tIntroduction --$tPart I: Taking up the Struggle --$tIntroduction --$t1.?The Image of Women in Film: Some Suggestions for Future Research? --$t2. ?The Woman?s Film? --$t3. ?Women?s Cinema as Counter-Cinema? --$t4. ?The Crisis of Naming in Feminist Film Criticism? --$tFurther Reading --$tPart II: The Language of Theory --$tIntroduction --$t5. ?Visual Pleasure and Narrative Cinema? --$t6. ?Caught and Rebecca: The Inscription of Femininity as Absence? --$t7. ?Oedipus Interruptus? --$t8. ?Lost Objects and Mistaken Subjects? --$tFurther Reading --$tPart III: The Female Spectator --$tIntroduction --$t9. ?Women and Film: A Discussion of Feminist Aesthetics? --$t10. ?Afterthoughts on ?Visual Pleasure and Narrative Cinema? inspired by King Vidor?s Duel in the Sun (1946)? --$t11. ?Film and the Masquerade: Theorising the Female Spectator? --$t12. ?Women?s Genres: Melodrama, Soap Opera and Theory? --$tFurther Reading --$tPart IV: Textual Negotiations --$tIntroduction --$t13. ?Pleasurable Negotiations? --$t14. ?Video Replay: Families, Films and Fantasy? --$t15. ?Feminine Fascinations: Forms of Identification in Star-Audience Relations? --$t16. ?Taboos and Totems: Cultural Meanings of The Silence of the Lambs' --$tFurther Reading --$tPart V: Fantasy, Horror and the Body --$tIntroduction --$t17. ?Her Body, Himself: Gender in the Slasher Film? --$t18. ?Horror and the Monstrous-Feminine: An Imaginary Abjection? --$t19. ?Film Bodies: Gender, Genre and Excess? --$tFurther Reading --$tPart VI: Re-thinking Differences --$tIntroduction --$t20. ?White Privilege and Looking Relations: Race and Gender in Feminist Film Theory? --$t21. ?The Oppositional Gaze: Black Female Spectators? --$t22. ?Cinema and the Dark Continent: Race and Gender in Popular Film? --$t23. ?Gender is Burning: Questions of Appropriation and Subversion? --$tFurther Reading --$tCopyright Acknowledgements --$tIndex 330 $aBrings together the key statements from the main debates in feminist film theory in Britain and the United States since 1970 Divided into six sections for ease of use: Taking up the Struggle; The Language of Theory; The Female Spectator; Textual Negotiations; Fantasy, Horror and the Body; Re-Thinking DifferencesAn introduction setting out the key debates in feminist film theoryIntroductions to each sectionThe book maps the impact of major theoretical developments - structuralist and semiotic theory; psychoanalysis; theories of ideology, language and discourse - on this growing field, in terms of both theoretical shifts and changes in methodologies. The relationship of feminist film theory to feminist media and cultural studies is outlined, as is the relationship between developments in feminist film theory and feminist film making. Includes readings from Laura Mulvey, Jacqueline Rose, Mary Ann Doane, Tania Modleski, Annette Kuhn, Jackie Stacey, Elizabeth Cowey, Linda Williams, bell hooks, Teresa de Lauretis. For the past twenty-five years, cinema has been a vital terrain on which feminist debates about culture, representation and identity have been fought. 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 1970. 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 1990s - 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.Key Features" 606 $aFeminism and motion pictures 606 $aFilm criticism 606 $aFeminist films 606 $aFeminist film criticism 615 0$aFeminism and motion pictures. 615 0$aFilm criticism. 615 0$aFeminist films. 615 0$aFeminist film criticism. 676 $a791.43082 686 $aAP 45100$2rvk 700 $aThornham$b Sue$4aut$4http://id.loc.gov/vocabulary/relators/aut$0266969 702 $aThornham$b Sue 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910826657503321 996 $aFeminist film theory$94021746 997 $aUNINA 999 $aThis Record contains information from the Harvard Library Bibliographic Dataset, which is provided by the Harvard Library under its Bibliographic Dataset Use Terms and includes data made available by, among others the Library of Congress