Relevant bibliographies by topics / Feminist film criticism Australia

Academic literature on the topic 'Feminist film criticism Australia'

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Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "Feminist film criticism Australia"

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Freeland, Cynthia, and Patricia Erens. "Issues in Feminist Film Criticism." Journal of Aesthetics and Art Criticism 50, no. 4 (1992): 347. http://dx.doi.org/10.2307/431419.

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Banks, Anna. "Issues in Feminist Film Criticism." American Journalism 9, no. 1-2 (January 1992): 135–36. http://dx.doi.org/10.1080/08821127.1992.10731443.

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Mayne, Judith. "Feminist Film Theory and Criticism." Signs: Journal of Women in Culture and Society 11, no. 1 (October 1985): 81–100. http://dx.doi.org/10.1086/494201.

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Lorraine, Renee Cox, Diane Carson, Linda Dittmar, and Janice R. Welsch. "Multiple Voices in Feminist Film Criticism." Journal of Aesthetics and Art Criticism 53, no. 3 (1995): 328. http://dx.doi.org/10.2307/431364.

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Flinn, Carol, Mary Ann Doane, Patricia Mellencamp, and Linda Williams. "Re-Vision: Essays in Feminist Film Criticism." SubStance 14, no. 3 (1986): 95. http://dx.doi.org/10.2307/3685000.

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Erb, Cynthia. ": Issues in Feminist Film Criticism . Patricia Erens." Film Quarterly 45, no. 3 (April 1992): 58–59. http://dx.doi.org/10.1525/fq.1992.45.3.04a00120.

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FREELAND, CYNTHIA. "Erens, Patricia, Ed. Issues in Feminist Film Criticism." Journal of Aesthetics and Art Criticism 50, no. 4 (September 1, 1992): 347–48. http://dx.doi.org/10.1111/1540_6245.jaac50.4.0347.

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Shrage, Laurie. "Feminist Film Aesthetics: A Contextual Approach." Hypatia 5, no. 2 (1990): 137–48. http://dx.doi.org/10.1111/j.1527-2001.1990.tb00422.x.

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This paper considers some problems with text-centered psychoanalytic and semiotic approaches to film that have dominated feminist film criticism, and develops an alternative contextual approach. I claim that a contextual approach should explore the interaction of film texts with viewers' culturally formed sensibilities and should attempt to render visible the plurality of meaning in art. I argue that the latter approach will allow us to see the virtues of some classical Hollywood films that the former approach has overlooked, and I demonstrate this thesis with an analysis of the film Christopher Strong.,
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Erb, Cynthia. "Review: Issues in Feminist Film Criticism by Patricia Erens." Film Quarterly 45, no. 3 (1992): 58–59. http://dx.doi.org/10.2307/1213228.

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Barrett, Ciara. "The feminist cinema of Joanna Hogg." Alphaville: Journal of Film and Screen Media, no. 10 (December 16, 2015): 129–44. http://dx.doi.org/10.33178/alpha.10.08.

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In this article, I provide a scholarly introduction to the cinema of contemporary British director Joanna Hogg that stands in direct contravention to existing auteurist and concomitantly phallogocentric critical discourses on her work. Thus I establish an alternative, feminist theoretical framework for analysis of Hogg’s films, synthesising feminist and structuralist methodologies. Via close textual analysis of each of Hogg’s three feature films, emphasising their implicit critique of phallogocentric narrativisation vis-à-vis the deployment of certain “melodramatic” conventions, I argue that the director creates a filmic space both literal and conceptual for “the female”. Significantly, this contravenes the inherently phallogocentric theoretical framework by which auteurist film criticism has (up until now) largely attempted to “package” Hogg’s work. I thus conclude the cinema of Joanna Hogg represents a subversive challenge to phallogocentric metanarrative, within which auteurist film criticism has traditionally been imbricated.
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Dissertations / Theses on the topic "Feminist film criticism Australia"

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Garrett, Roberta. "Postmodernist cinema and feminist film criticism." Thesis, Staffordshire University, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.272823.

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Cherry, Brigid S. G. "The female horror film audience : viewing pleasures and fan practices." Thesis, University of Stirling, 1999. http://hdl.handle.net/1893/2268.

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What is at stake for female fans and followers of horror cinema? This study explores the pleasures in horror film viewing for female members of the audience. The findings presented here confirm that female viewers of horror do not refuse to look but actively enjoy horror films and read such films in feminine ways. Part 1 of this thesis suggests that questions about the female viewer and her consumption of the horror film cannot be answered solely by a consideration of the text-reader relationship or by theoretical models of spectatorship and identification. A profile of female horror film fans and followers can therefore be developed only through an audience study. Part 2 presents a profile of female horror fans and followers. The participants in the study were largely drawn from the memberships of horror fan groups and from the readerships of a cross-section of professional and fan horror magazines. Qualitative data were collected through focus groups, interviews, open-ended questions included in the questionnaire and through the communication of opinions and experiences in letters and other written material. Part 3 sheds light on the modes of interpretation and attempts to position the female viewers as active consumers of horror films. This study concludes with a model of the female horror film viewer which points towards areas of female horror film spectatorship which require further analysis. The value of investigating the invisible experiences of women with popular culture is demonstrated by the very large proportion of respondents who expressed their delight and thanks in having an opportunity to speak about their experiences. This study of female horror film viewers allows the voice of an otherwise marginalised and invisible audience to be heard, their experiences recorded, the possibilities for resistance explored, and the potentially feminine pleasures of the horror film identified.
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Luckner, Victoria. "“I AM NOT A PRINCESS BUT…”: AN IDEOLOGICAL CRITICISM OF “FEMINIST” IDEOLOGIES IN DISNEY’S MOANA." CSUSB ScholarWorks, 2018. https://scholarworks.lib.csusb.edu/etd/753.

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In 2016, Disney animation studios released their newest princess film Moana. The film follows a seemingly feminist plot line of a young female heroine who saves the world from destruction. This study examines Moana (2016) in relation to the views on feminism in the U.S. Disney’s large social and economic influence provides rich grounds for this research. Using an ideological rhetorical criticism, I uncovered the presented and suggested elements of the film. These elements combined with research on U.S. feminist ideology allowed three ideological themes to emerge: ecofeminism, power feminism, and post-feminism. The three themes are threaded to create a seemingly feminist patchwork ideology. I argue that the patchwork ideology that is created is a result of the political and economic conditions present around the production of Moana. Furthermore, I argue that this patchwork ideology is ultimately harmful to current feminist ideology in the U.S. This study adds insight into how feminist ideology is used in popular media.
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Hofmann, Ingrid. "Deadly seductions : femme fatales in 90's film noir." Title page, table of contents and abstract only, 1998. http://web4.library.adelaide.edu.au/theses/09ARM/09armh713.pdf.

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König, Christiane. "Ein Blick auf die Rückseite der Leinwand feministische Perspektiven zur Produktion von Weiblichkeit im Diskurs "Film" /." Tübingen : Max Niemeyer, 2004. http://catalog.hathitrust.org/api/volumes/oclc/55963204.html.

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Layman, Amanda. "The Problem with Pussy Power: A Feminist Analysis of Spike Lee's Chi-Raq." University of Akron / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=akron1490453172203067.

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Goulden, Jan. "The western, the buddy movie and noir : lesbian re-readings of the American action movie." n.p, 1999. http://library7.open.ac.uk/abstracts/page.php?thesisid=13.

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Thompson, Jay. "Sex and power in Australian writing during the Culture Wars, 1993-1997 /." Connect to thesis, 2009. http://repository.unimelb.edu.au/10187/6714.

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I address a selection of texts published in Australia between 1993 and 1997 which engage with feminist debates about sex and power. These texts are important, I argue, because they signpost the historical moment in which the culture wars and globalisation gained force in Australia. A key word in this thesis is ‘framing’. The debates which my texts engage with have (much like the culture wars in general) commonly been framed as conflicts between polarised political factions. These political factions have, in turn, been framed in terms of generations; that is, an ‘older’ feminism is pitted against a ‘newer’ feminism. Each generation of feminists supposedly holds quite different views about sex. I argue that my texts actually provide an insight into how various feminist perspectives on sex diverge and intersect with each other, as well as with certain New Right discourses about sex. My selected texts also suggest how the printed text has helped transport feminism within and outside Australia
My texts fit into two broad genres, fiction and scholarly non-fiction. The texts are: Helen Garner’s The First Stone (1995), Sheila Jeffreys’ The Lesbian Heresy (1993), Catharine Lumby’s Bad Girls (1997), Linda Jaivin’s Eat Me (1995) and Justine Ettler’s The River Ophelia (1995). I engage with various critical responses to these texts, including reviews, essays and interviews with the authors. I draw also from a range of theoretical sources. These include analyses of the culture wars by the American theorist Lillian S. Robinson and the Australian scholars McKenzie Wark, David McKnight and Mark Davis. Davis has provided a useful overview of how the metaphor of ‘generational conflict’ circulated in Australian culture during the 1990s. I draw on Arjun Appadurai’s model of “global cultural flows” and Ann Curthoys’ history of feminism in Australia. I engage with research into the increasingly ‘globalised’ nature of Australian writing, as well as a number of feminist works on the relationship between sex and power
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Smith, Keith. "Kodak's worst nightmare Super 8 in the digital age: A cultural history of Super 8 filmmaking in Australia 1965-2003." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2004. https://ro.ecu.edu.au/theses/1612.

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This project charts the extraordinary history of the Super 8 film medium, a popular amateur home movie format first introduced in 1965 and largely assumed to have disappeared with the advent of home video technologies in the early 1980's. Kodak's Worst Nightmare investigates the cultural history of the Super 8 medium with an emphasis on its (secret) life since 1986. lt asks how (and why) an apparently obsolete consumer technology has survived some 35 years into a digital future despite the emergence of technologically-advanced domestic video formats and Eastman Kodak's sustained attempts since the mid-80s to suppress, what is for it, a patently unprofitable product line. Informed by the work of Heath (1900), Zimmermann (1995), and Carroll (1996), this project takes the unusual step of isolating a specific amateur film medium as its object of study at the centre of a classic 'nature vs. nurture' debate. Arguing against a popular essentialist position which attributes the longevity of Super 8 to its unique, irreplaceable aesthetic, Kodak's Worst Nightmare proposes that Super 8 film has been a contested site in a social, cultural, political, and economic nexus where different agencies have appropriated the medium through the construction of discourses which have imposed their own meanings on the use and consumption of this cultural product. In an extraordinary cycle of subjugation, resistance and incorporation, this project finds that the meanings and potentials of Super 8 have been progressively colonised by differing institutions - firstly by Eastman Kodak ('domestic' Super 8), secondly by the alternative,independent film movement ('oppositional' Super 8 and 'indie' Super 8), and finally by the mainstream film and television industry ('professional' Super 8"). In an amazing contradiction, it is argued that Super 8 in its current incarnation has emerged as the exact opposite of Kodak's original discursive construction of its amateur status - it has become a professional medium for commercial production. Drawing together related work in the histories of domestic photography and communications technologies, and the cultural practice of everyday life, this project contributes to an area which is seriously undertheorised in the literature of film theory and cultural studies- the social, political and cultural role of amateur film technologies.
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Gifford, Ben. "Reviewing the critics: Examining popular video game reviews through a comparative content analysis." Cleveland State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=csu1377089044.

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Books on the topic "Feminist film criticism Australia"

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Feminist film studies. Abingdon, Oxon, [England]: Routledge, 2012.

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1938-, Erens Patricia, ed. Issues in feminist film criticism. Bloomington: Indiana University Press, 1990.

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Diane, Carson, Dittmar Linda 1938-, and Welsch Janice R, eds. Multiple voices in feminist film criticism. Minneapolis: University of Minnesota Press, 1994.

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Sue, Thornham, ed. Feminist film theory: A reader. Edinburgh: Edinburgh University Press, 1999.

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Sue, Thornham, ed. Feminist film theory: A reader. New York: New York University Press, 1999.

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Deleuze and film: A feminist introduction. New York: Continuum, 2011.

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Feminist auteurs: Reading women's film. London: Wallflower, 2006.

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Rosenberg, Jan. Women's reflections: The feminist film movement. Ann Arbor: UMI, 1995.

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Moran, Albert. Projecting Australia: Government film since 1945. Sydney: Currency Press, 1991.

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Palestinian literature and film in postcolonial feminist perspective. New York: Routledge, 2012.

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Book chapters on the topic "Feminist film criticism Australia"

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Hanson, Helen. "The Big Seduction: Feminist Film Criticism and the Femme Fatale." In The Femme Fatale: Images, Histories, Contexts, 214–27. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230282018_16.

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Bassil-Morozow, Helena. "Feminist film criticism." In The Routledge International Handbook of Jungian Film Studies, 115–27. Routledge, 2019. http://dx.doi.org/10.4324/9781315619163-10.

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"Lesbian Film Theory and Criticism." In Feminist Film Studies, 134–58. Routledge, 2012. http://dx.doi.org/10.4324/9780203146804-11.

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Wolfreys, Julian. "22. Feminist Film Studies and Film Theory." In Modern North American Criticism and Theory, 159–66. Edinburgh University Press, 2006. http://dx.doi.org/10.1515/9780748626786-023.

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"Gender and the Body in Feminist and Queer Film Criticism." In Film Bodies. I.B. Tauris, 2018. http://dx.doi.org/10.5040/9781350986435.ch-001.

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Paszkiewicz, Katarzyna. "Impossible Liaisons? Genre and Feminist Film Criticism." In Genre, Authorship and Contemporary Women Filmmakers, 1–33. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474425261.003.0001.

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This chapter traces how, traditionally, feminist analyses of films authored by women tended to centre on experimental or art-house cinema and, subsequently, on genres culturally codified as ‘female’. It then goes on to engage with the most important debates around the concept of ‘women’s cinema’ and their significance in relation to genre theory. In particular, Alison Butler’s insights into women’s cinema as ‘minor cinema’, adapted from Deleuze and Guattari’s (1975) concept of the minor – as an alternative to the negative aesthetics of counter-cinema – is particularly apt here, as it allows for a reconsideration of women’s film authorship in mainstream productions and the ‘major’ language of film genres. Following and expanding this concept, it is argued that genres can be particularly productive spaces from which to think about female filmmakers, film authorship and the cultural politics of gender (especially in terms of the status of the woman author or her lack of status), as will be explored in the following chapters. Finally, instead of locking women filmmakers into a segregated gender sphere defined by ‘women’s culture’, the chapter argues for the mutability of gendered identities and questions the oversimplified notion of gender-to-gender cinematic identification – a typical assumption underpinning the categorisation of genres by gender – and suggests that ‘opportunities for resistance are more available than the opposition between “dominant cinema” and “counter-cinema” allows’ (Cook 2012: 33).
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"5. In the Name of Feminist Film Criticism." In Chick Flicks, 62–84. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822377580-013.

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"INTRODUCTION: IMPOSSIBLE LIAISONS? GENRE AND FEMINIST FILM CRITICISM." In Genre, Authorship and Contemporary Women Filmmakers, 1–33. Edinburgh University Press, 2018. http://dx.doi.org/10.1515/9781474425278-003.

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Hurault-Paupe, Anne. "Molly Haskell’s take on feminist film theory: The place of feminist film criticism outside academia." In From the Margins to the Mainstream. Bloomsbury Academic, 2022. http://dx.doi.org/10.5040/9781350120198.ch-003.

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"Reviewing the Female Gothic Heroine: Agency, Identification and Feminist Film Criticism." In Hollywood Heroines. I.B.Tauris, 2007. http://dx.doi.org/10.5040/9780755696574.ch-002.

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