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Relevant bibliographies by topics / Feminist film theory

Academic literature on the topic 'Feminist film theory'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 January 2023

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Journal articles on the topic "Feminist film theory"

1

Tudor, Deborah. "Feminist Film Theory 101." Afterimage 16, no. 8 (March 1, 1989): 21. http://dx.doi.org/10.1525/aft.1989.16.8.21.

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Fischer, Craig. "Why Feminist Film Theory?" NWSA Journal 14, no. 2 (July 2002): 171–80. http://dx.doi.org/10.2979/nws.2002.14.2.171.

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McKinstry, Susan Jaret, and Constance Penley. "Theorizing Pleasure: Feminist Film Theory." Contemporary Literature 32, no. 1 (1991): 127. http://dx.doi.org/10.2307/1208342.

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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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Swanson, Gillian. "BUILDING THE FEMININE: FEMINIST FILM THEORY AND FEMALE SPECTATORSHIP." Art History 13, no. 4 (December 1990): 585–90. http://dx.doi.org/10.1111/j.1467-8365.1990.tb00409.x.

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Swanson, Gillian. "Building the feminine: Feminist film theory and female spectatorship." Continuum 4, no. 2 (January 1991): 206–17. http://dx.doi.org/10.1080/10304319109388208.

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Kaplan, E. Ann. "Global Feminisms and the State of Feminist Film Theory." Signs: Journal of Women in Culture and Society 30, no. 1 (September 2004): 1236–000. http://dx.doi.org/10.1086/421879.

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Blaetz, Robin. "The Maternal and Feminist Film Theory." Women: a cultural review 33, no. 1 (January 2, 2022): 146–48. http://dx.doi.org/10.1080/09574042.2022.2021027.

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LONG, M. "Feminist Film Theory: Osaka, circa 1866." differences 13, no. 3 (January 1, 2002): 24–63. http://dx.doi.org/10.1215/10407391-13-3-24.

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McHugh, Kathleen. "Prolegomenon." Film Quarterly 75, no. 1 (2021): 10–22. http://dx.doi.org/10.1525/fq.2021.75.1.10.

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Kathleen McHugh explores the complex functions of women’s anger in the work and aesthetic circuitry—culture, texts, audience, reviewers—of contemporary feminist filmmakers. For all its ubiquity as a feminist feeling, anger has been little considered critically. While 1970s white theorists of feminine/feminist film aesthetics did not mention anger, feminist lesbian, materialist, and women-of-color critics lamented its absence. Julie Dash’s 1982 Illusions inaugurated an aesthetics of anger from a Black feminist perspective that exemplified the ideas in Audre Lorde’s foundational 1981 essay, “The Uses of Anger.” Drawing from Lorde’s and Sara Ahmed’s ideas about the creative value of feminist anger, together with recent affect theory on “reparative reading” and “better stories,” the essay explores four contemporary directors’ films and media works for how anger shapes their texts and critical reception and cultivates a mode of affective witness in their audiences.

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Dissertations / Theses on the topic "Feminist film theory"

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Tobin, Erin C. "Campy Feminisms: The Feminist Camp Gaze in Independent Film." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1594039952349499.

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Tay, Sharon Lin. "Beyond sexual difference : sustaining feminist politics in film theory." Thesis, University of East Anglia, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.405693.

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Dancey, Angela Clair. "Before and after the makeover in film and culture /." Connect to resource, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1126899524.

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Hicks, Pamela Jane. "A gaze of one's own : feminist film theory, with application to Klute." Master's thesis, University of Cape Town, 1994. http://hdl.handle.net/11427/18260.

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This study is concerned with the development of a field of film theory around the place of the female spectator. Chapter 1 presents an historical overview of some trends in the development of film theory, with emphasis on the emergence of a paradigm in which theories of semiotics, ideology and psychoanalysis intersect. It critically assesses the establishment of a dominant theory founded in the notion of film as art, proposing certain parallels between this and contemporary Leavisite literary theory, and notes auteurism as the point of departure from this into the consideration of film as popular culture. It then traces the impact of the critiques by Barthes and Foucault of authorial intentionality, Althusser's theory of ideology and Lacanian psychoanalytic theory in the shift to a body of film theory centrally concerned with the notion of film as text. The feminist intervention is located at the meeting point of this theory with the concerns of the emergent women's movement, and is traced in its development from the "image of" criticism of Rosen and Haskell to Claire Johnston's and Laura Mulvey's seminal work on women and representation. Chapter 2 focuses on some of the theoretical considerations of the image and the gaze, extends these into the theory of cinema as an apparatus, and outlines feminist critiques of apparatus theory. Accounts of representation and the image are drawn from Bill Nichols, John Berger, and Peter Wollen's summary of C.S. Peirce. In the shift of theoretical interest to the process of viewing film, Munsterberg's account of the psychology of vision is noted. The psychoanalytic construction of visual meaning is traced through Lacan's elaboration of the mirror phase to its significance for cinema in the centrality of desire and the gaze. The consequent development of a model of cinema as an apparatus by Baudry and Metz is followed. The feminist criticism of the androcentricity of this model is traced, both through its outright rejection, and through specific critiques by Teresa de Lauretis, Jacqueline Rose, Kaja Silverman, Mary Ann Doane and Constance Penley. Chapter 3 follows three theorists in their attempts to account for female spectatorship: Laura Mulvey's theory of oscillation, Teresa de Lauretis's double identification and Mary Ann Doane's accounts both of textual strategies of specularization in the "woman's film" and the masquerade are considered. Chapter 4 presents an analysis of the text Klute in order to apply some of the theoretical implications, particularly around questions of female subjectivity and spectatorship. It situates Klute within its historical context, in relation to the cinema industry and the emergent women's movement, and within the terms suggested by its generic structuration. The Conclusion provides a summary of my intention to provide an overview of this difficult and fertile field of debate. An Appendix provides a script of Klute.

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Hobson, Amanda Jo. "Envisioning Feminist Genre Film: Relational Epistemology, Catharsis, and Erotic Intersubjects." Ohio University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1604074749500538.

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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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Harrington, Erin Jean. "Gynaehorror: Women, theory and horror film." Thesis, University of Canterbury. Cultural Studies, School of Humanities and Creative Arts, 2014. http://hdl.handle.net/10092/9586.

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This thesis offers an analysis of women in horror film through an in depth exploration of what I term ‘gynaehorror’ – horror films that are concerned with female sex, sexuality and reproduction. While this is a broad and fruitful area of study, work in it has been shaped by a pronounced emphasis upon psychoanalytic theory, which I argue has limited the field of inquiry. To challenge this, this thesis achieves three things. Firstly, I interrogate a subgenre of horror that has not been studied in depth for twenty years, but that is experiencing renewed interest. Secondly, I analyse aspects of this subgenre outside of the dominant modes of inquiry by placing an emphasis upon philosophies of sex, gender and corporeality, rather than focussing on psychodynamic approaches. Thirdly, I consider not only what these theories may do for the study of horror films, but what spaces of inquiry horror films may open up within these philosophical areas. To do this, I focus on six broad streams: the current limitations and opportunities in the field of horror scholarship, which I augment with a discussion of women’s bodies, houses and spatiality; the relationship between normative heterosexuality and the twin figures of the chaste virgin and the voracious vagina dentata; the representation and expression of female subjectivity in horror films that feature pregnancy and abortion; the manner in which reproductive technology is bound up within hegemonic constructions of gender and power, as is evidenced by the figure of the ‘mad scientist’; the way that discourses of motherhood and maternity in horror films shift over time, but nonetheless result in the demonisation of the mother; and the theoretical and corporeal possibilities opened up through Deleuze and Guattari’s model of schizoanalysis, with specific regard to the 'Alien' films. As such, this thesis makes a unique contribution to the study of women in horror film, while also advocating for an expansion of the theoretical repertoire available to the horror scholar.

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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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Lipper, Joanna Helene. "Making 'The Supreme Price' : the theory and practice of a feminist documentary film in Nigeria." Thesis, University of York, 2017. http://etheses.whiterose.ac.uk/20250/.

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This dissertation is presented in two related components. The first part is The Supreme Price, an award-winning, feature-length documentary film that I directed and produced about women and the pro-democracy movement in Nigeria. In 1993, Nigerians elected M.K.O. Abiola as president in a historic vote that promised to end years of military dictatorship. Shortly after the election, there was a military coup. General Sani Abacha seized power and had Abiola arrested and jailed. While Abiola was in prison, his wife, Kudirat Abiola, took over leadership of the pro-democracy movement. She was assassinated by agents of the military junta in 1996. M.K.O Abiola died in prison two years later under mysterious circumstances. The film interweaves past and present as this story is told through the eyes of their daughter, Hafsat Abiola, who was about to graduate from Harvard when her mother was murdered. Determined not to let her parents’ democratic ideals die with them, Hafsat returns to Nigeria after years in exile and is at the forefront of a progressive movement to empower women and dismantle the patriarchal structure of Nigerian society. The second part of my dissertation consists of written critical reflections on the theoretical, technical, artistic and pedagogical aspects of my feminist filmmaking practice, grounded in my historical research on the political culture in Nigeria. Taking an interdisciplinary, pluralist approach within a theoretical framework of transnational feminism, I incorporated analysis of both Western and African perspectives. I used biography, trauma studies, political science, geographical, economic and foreign policy analysis, extensive audio-visual archival research and photographs to provide a detailed historical backdrop and theoretical context for understanding the life and legacy of Yoruba, Muslim human rights activist, Kudirat Abiola. I explore her and her daughter’s usage of media platforms to amplify their voices across borders, strategically creating archived, historical multimedia records of their opposition to the military regime in Nigeria. Through discussion of my in-depth work with archival footage, and through describing the distribution, impact and outreach of the film, I aim to show how The Supreme Price functions to represent and preserve a key aspect of women’s history in Nigeria, filling a void in the Nigerian educational system where history as an academic subject has been eliminated from most primary and secondary school curriculums. In my roles as director, producer and cinematographer, my documentary filmmaking practice was itself an act of transnational, multicultural solidarity, collaboration and synthesis resulting in a final film that is a hybrid artefact – simultaneously feminist and African. This dissertation illuminates how The Supreme Price has broken new ground in Nigeria where Nollywood has been the dominant framework for film productions and the genre of independently-made, transnational, feminist, political, historical documentaries directed by women and focused on women’s lives and legacies is nascent.

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Wearne, Olivia, and oliviawearne@hotmail com. "Crater Lake: A Study of the Monster Within." RMIT University. Creative Media, 2008. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20081209.160136.

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Books on the topic "Feminist film theory"

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

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Jaspert, Poppy. Feminist film theory: The piano. London: LCP, 2001.

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

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Passionate detachments: An introduction to feminist film theory. London: Arnold, 1997.

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And the mirror cracked: Feminist cinema and film theory. Basingstoke: Macmillan, 1998.

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And the mirror cracked: Feminist cinema and film theory. New York: St. Martin's Press, 1998.

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Copjec, Joan. Apparatus and Umbra: A feminist critique of film theory. Ann Arbor, Mich: University MicrofilmsInternational, 1988.

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Abele, Silke. Even angels fall: Feminist film theory and the representations of girls in American teen film. Birmingham: University of Birmingham, 2000.

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Alexandra, Juhasz, ed. Women of vision: Histories in feminist film and video. Minneapolis: University of Minnesota Press, 2001.

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Modleski, Tania. The women who knew too much: Hitchcock and feminist theory. London: Routledge, 1989.

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Book chapters on the topic "Feminist film theory"

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Smith, Clare. "Feminist Film Theory." In Jack the Ripper in Film and Culture, 47–56. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-59999-5_4.

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Freeland, Cynthia. "Film theory." In A Companion to Feminist Philosophy, 353–60. Oxford, UK: Blackwell Publishing Ltd, 2017. http://dx.doi.org/10.1002/9781405164498.ch35.

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French, Lisa. "Feminisms, Feminist Theory and Documentary Practice." In The Female Gaze in Documentary Film, 91–110. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-68094-7_5.

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Polaschek, Bronwyn. "Feminist Film Theory and Postfeminist Culture." In The Postfeminist Biopic, 9–37. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137273482_2.

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White, Patricia. "Documentary Practice and Transnational Feminist Theory." In A Companion to Contemporary Documentary Film, 217–32. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2018. http://dx.doi.org/10.1002/9781118884584.ch10.

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Martin-Márquez, Susan. "Isabel Coixet's Engagement with Feminist Film Theory." In A Companion to Spanish Cinema, 545–62. Oxford: Blackwell Publishing Ltd, 2012. http://dx.doi.org/10.1002/9781118322765.ch19.

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Bliss, Lauren. "Guilty as Charged: Feminist Film Theory and the Early Modern Imagination." In The Maternal Imagination of Film and Film Theory, 25–50. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-45897-3_2.

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Vollmer, Ulrike. "Seeing and Being Seen in Cinema: Feminist Film Theory." In Seeing Film and Reading Feminist Theology, 31–38. New York: Palgrave Macmillan US, 2007. http://dx.doi.org/10.1057/9780230606852_3.

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Bolton, Lucy. "‘Frozen in Showcases’: Feminist Film Theory and the Abstraction of Woman." In Film and Female Consciousness, 8–28. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230308695_2.

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Smelik, Anneke. "What Meets the Eye: An Overview of Feminist Film Theory." In And the Mirror Cracked, 7–27. London: Palgrave Macmillan UK, 1998. http://dx.doi.org/10.1057/9780333994702_2.

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Conference papers on the topic "Feminist film theory"

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Tomoiagă, Ligia. "Names of characters in Game of Thrones: for and against multiculturalism." In International Conference on Onomastics “Name and Naming”. Editura Mega, 2022. http://dx.doi.org/10.30816/iconn5/2019/80.

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The Game of Thrones is one of the most popular shows in the world, with numerous audiences since it has been translated into many languages. Like any other such show, the reactions to it function like mirrors of contemporary themes and obsessions. As with most aspects of culture today, ideologues of all types – Marxists, conservatives, traditionalists, Critical Race Theory activists, intersectionalists, feminists, and others – always try to use such widely popular shows to illustrate their ideas and push their agendas. Some aspects of Songs of Ice and Fire have triggered debates on the issue of its characters as being not diverse enough, and thus showing how George R. R. Martin wrote a rather non-progressive book. This paper focuses on the names the author chose for his characters, and argues that the choice of names in the show is due to a wish of the author to evoke important world cultures, to have a sonority that matches the characters’ personalities, and to be both archaic and memorable. I have called such a view a non-ideological and symbolic one, and I think that viewers identify with the characters in the film due to their likes and dislikes, and not according to any kind of ideological claims. Nevertheless, these names can also be considered to be a good illustration of diversity – of ethnic, cultural, and racial background. For such a demonstration the study concentrates on the names of a few of the main characters, trying to come up with possible etymologies (as we know that Martin looked into such names of Medieval England) which are correct from a historical linguistic point of view, but which also can be interpreted as symbolic and have a rich connotation within the literary text.

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