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Books on the topic 'Feminist film theory'

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Published: 4 June 2021

Last updated: 31 January 2023

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1

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

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2

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

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3

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

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4

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

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5

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

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6

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

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7

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

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8

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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9

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

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10

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

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11

The women who knew too much: Hitchcock and feminist theory. New York: Methuen, 1988.

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12

Modleski, Tania. The women who knew too much: Hitchcock and feminist theory. New York: Routledge, 1988.

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13

"Władczynie spojrzenia": Teoria filmu a praktyka reżyserek i artystek = "Female gaze" : film theory and practice of women filmmakers and artists. Kraków: Korporacja Ha!Art, 2010.

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14

The women who knew too much: Hitchcock and feminist theory. 2nd ed. New York, NY: Routledge, 2005.

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15

Old wives' tales: Feminist re-visions of film and other fictions. London: I.B. Tauris, 1999.

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16

Oliver, Kelly. Knock me up, knock me down: Images of pregnancy in Hollywood film. New York: Columbia University Press, 2012.

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17

Looking for the other: Feminism, film, and the imperial gaze. New York: Routledge, 1997.

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18

Atkinson, Alastair James. Gazing into the dark continents: The function of fantasy and masquerade within narrative cinema, based in feminist film theory. [Derby: University of Derby], 1998.

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19

1948-, Penley Constance, and British Film Institute, eds. Feminism and film theory. London: BFI Publishing, 1988.

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20

Lauretis, Teresa De. Technologies of gender: Essays on theory, film, and fiction. Bloomington: Indiana University Press, 1987.

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21

Lauretis, Teresa De. Technologies of gender: Essays on theory, film, and fiction. Bloomington: Indiana University Press, 1987.

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22

Film feminisms: Theory and practice. Westport, Conn: Greenwood Press, 1985.

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23

Femmes fatales: Feminism, film theory, psychoanalysis. New York: Routledge, 1991.

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24

Doane, Mary Ann. Femmes fatales: Feminism, film theory, psychoanalysis. New York: Routledge, 1999.

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25

Shimizu, Celine Parrenas. The hypersexuality of race: Performing Asian/American women on screen and scene. Durham, NC: Duke University Press, 2008.

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26

1948-, Penley Constance, ed. Close encounters: Film, feminism, and science fiction. Minneapolis: University of Minnesota Press, 1991.

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27

1945-, Levitin Jacqueline, Plessis Judith, and Raoul Valerie 1941-, eds. Women filmmakers: Refocusing. Vancouver: UBC Press, 2003.

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28

Thornham, Sue. Feminist Film Theory. Edinburgh University Press, 1999.

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29

Thornham, Sue. Feminist Film Theory. Edinburgh University Press, 1999. http://dx.doi.org/10.1515/9781474473224.

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30

Studying Feminist Film Theory. Auteur Publishing, 2018.

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31

Murray, Terri. Studying Feminist Film Theory. Auteur Publishing, 2018.

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32

Murray, Terri. Studying Feminist Film Theory. Auteur, 2007. http://dx.doi.org/10.5040/9781800850507.

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33

Murray, Terri. Studying Feminist Film Theory. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781911325802.001.0001.

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This book is aimed at helping media and film studies teachers introduce the basics of feminist film theory. No prior knowledge of feminist theory is required, the intended readers being university undergraduate teachers and students of film and media studies. Areas of emphasis include spectatorship, narrative, and ideology. Many illustrative case studies from popular cinema are used to offer students an opportunity to consider the connotations of visual and aural elements of film, narrative conflicts and oppositions, the implications of spectator 'positioning' and viewer identification, and an ideological critical approach to film. Explanations of key terminology are included, along with classroom exercises and practice questions. Each chapter begins with key definitions and explanations of the concepts to be studied, including some historical background where relevant. Case studies include film noir, Kathryn Bigelow's Strange Days and the work of directors Spike Lee, Claire Denis, and Paul Verhoeven.

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34

Thornham, Sue. Feminist Film Theory: A Classical Reader. New York University Press, 1999.

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35

Thornham, Sue. Feminist Film Theory: A Classical Reader. New York University Press, 1999.

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36

Ruti, Mari. Feminist Film Theory and Pretty Woman. Bloomsbury Academic & Professional, 2016.

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37

Ruti, Mari. Feminist Film Theory and Pretty Woman. Bloomsbury Publishing Plc, 2016. http://dx.doi.org/10.5040/9781501319457.

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38

Ruti, Mari, and Todd McGowan. Feminist Film Theory and Pretty Woman. Bloomsbury Publishing Plc, 2016.

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39

Ruti, Mari. Feminist Film Theory and Pretty Woman. Bloomsbury Publishing Plc, 2016.

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40

Smelik, Anneke. And the Mirror Cracked: Feminist Cinema and Film Theory. Palgrave Macmillan, 2001.

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41

Feminist film theory and Cléo from 5 to 7. Bloomsbury Academic, an imprint of Bloomsbury Publishing Plc, 2016.

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42

And the Mirror Cracked: Feminist Cinema and Film Theory. Palgrave Macmillan, 1998.

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43

Neroni, Hilary. Feminist Film Theory and Cléo from 5 to 7. Bloomsbury Publishing Inc, 2016. http://dx.doi.org/10.5040/9781501313721.

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44

Constable, Catherine. Thinking In Images: Film Theory, Feminist Philosophy and Marlene Dietrich. British Film Institute, 2006.

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45

Constable, Catherine. Thinking In Images: Film Theory, Feminist Philosophy and Marlene Dietrich. British Film Institute, 2006.

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46

Film, Feminism and Melanie Klein:: Weird Lullabies. Routledge, 2008.

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47

Tulloch, John, and Belinda Middleweek. Intimacy and Romance in Film Theory. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190244606.003.0004.

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Chapter 3 explores the critical frame of feminist Lacanian postmodernism, underpinning an understanding of real sex films like Romance as art-house cinema in mutual dialogue with pornography. It argues that this fusion and tension between genres misses significant disparities within art house, and neither offers a robust history nor acknowledges that the Romance narrative focuses on Marie’s negotiation of her own sexuality and embodiment via a picaresque series of female/male encounters in a changed modernity. In its detailed analysis of Romance, the chapter draws on Giddens’s concepts of plastic sexuality and confluent love, Raymond Williams’s notion of emotional realism, and Trevor Griffiths’s historical understanding of the (raced and classed) wandering vagrant in an interdisciplinary “extension” of Tanya Krzywinska’s analysis of real sex cinema. This textual analysis combines “mutual understanding” of feminist mapping theory with risk sociology’s recognition of history as the growth of dialogue with the ars erotica.

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48

Disch, Lisa, and Mary Hawkesworth, eds. The Oxford Handbook of Feminist Theory. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199328581.001.0001.

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The Oxford Handbook of Feminist Theory provides an overview of the analytical frameworks and theoretical concepts feminist theorists have developed to challenge established knowledge. Leading feminist theorists, from around the globe, provide in-depth explorations of a diverse array of subject areas, capturing a plurality of approaches. The Handbook raises new questions, brings new evidence, and poses significant challenges across the spectrum of academic disciplines, demonstrating the interdisciplinary nature of feminist theory. The chapters offer innovative analyses of the central topics in social and political science (e.g. civilization, development, divisions of labor, economies, institutions, markets, migration, militarization, prisons, policy, politics, representation, the state/nation, the transnational, violence); cultural studies and the humanities (e.g. affect, agency, experience, identity, intersectionality, jurisprudence, narrative, performativity, popular culture, posthumanism, religion, representation, standpoint, temporality, visual culture); and discourses in medicine and science (e.g. cyborgs, health, intersexuality, nature, pregnancy, reproduction, science studies, sex/gender, sexuality, transsexuality) and contemporary critical theory that have been transformed through feminist theorization (e.g. biopolitics, coloniality, diaspora, the microphysics of power, norms/normalization, postcoloniality, race/racialization, subjectivity/subjectivation). The Handbook identifies the limitations of key epistemic assumptions that inform traditional scholarship and shows how theorizing from women’s and men’s lives has profound effects on the conceptualization of central categories, whether the field of analysis is aesthetics, biology, cultural studies, development, economics, film studies, health, history, literature, politics, religion, science studies, sexualities, violence, or war.

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49

Bolton, L. Film and Female Consciousness: Irigaray, Cinema and Thinking Women. imusti, 2011.

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50

Bolton, L. Film and Female Consciousness: Irigaray, Cinema and Thinking Women. Palgrave Macmillan, 2015.

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