Feminism and Film / Edition 1

by E. Ann Kaplan

Overview

This book brings together carefully selected essays on feminism and film with a view to tracing major developments in theory, criticism, and practices of women and cinema from 1973 to the present day. It illuminates the powerful, if controversial, role feminist research has played in the emergence of Film Studies as a discipline during these years; reprinting influential 1970s pioneering essays tracing the ensuing debates and challenges to key theories that shaped this field in the next two decades. Kaplan details the Euro-American contexts within which feminist film theories and practices emerged and traces the changing influences of French, German, and American intellectual movements on feminist film research. As well as a wide-ranging introduction which sets the selection of essays in context, readers will find examples of social-role, psychoanalytic, structuralist, post-structuralist, gay and lesbian, postmodern and postcolonial feminist film criticism, prefaced by introductory notes and including further readings.

Product Details

ISBN-13:	9780198782346
Publisher:	Oxford University Press
Publication date:	09/21/2000
Series:	Oxford Readings in Feminism
Edition description:	New Edition
Pages:	584
Product dimensions:	8.42(w) x 5.39(h) x 1.20(d)

About the Author

E. Ann Kaplan is Professor of English and the first Director of the Humanities Institute, State University of New York, Stony Brook. She is also a widely published author.

Table of Contents

Notes on ContributorsIntroductionPart One: Pioneers and Classics: The Modernist ModeIntroductory NotesWoman's Cinema as Counter-Cinema, Claire JohnstonVisual Pleasure and Narrative Cinema, Laura Mulvey"Woman as Sign", Elizabeth CowieKlute 1: A Contemporary Film Noir and Feminist Criticism, Christine GledhillWoman's Stake: Filming the Female Body, Mary Ann DoaneMale Subjectivity and the Celestial Suture: It's a Wonderful Life, Kaja SilvermanIs the Gaze Male?, E. Ann KaplanDorothy Arzner: Critical Strategies, Claire JohnstonPart Two: Critiques of Phase One Theories: New MethodsIntroductory NotesLesbian Looks: Dorothy Arzner and Female Authorship, Judith MayneThe Difficulty of Difference, David N. RodowickMasochism and the Perverse Pleasures of the Cinema, Gaylyn StudlarPleasure, Ambivalence, Identification: Valentino and Female Spectatorship, Miriam HansenMasculinity as Spectacle: Reflections on Men and Mainstream Cinema, Steve NealeStrategies of Coherence: Narrative, Cinema, Feminist Poetics and Yvonne Rainer, Teresa de LauretisThe Orthopsychic Subject: Film Theory and the Reception of Lacan, Joan CopjecPart Three: Race, Sexuality, and Postmodernism in Feminist Film TheoryIntroductory NotesSpeaking Nearby, Trinh T. Minh-ha and Nancy N. ChenWhite Privilege and Looking Relations: Race and Gender in Feminist Film Theory, Jane GainesRacism, Representation, Psychoanalysis, Claire Pajaczkowska and Lola YoungThat Moment of Emergence, Pratibha ParmarSexual Indifference and Lesbian Representation, Teresa de LauretisPart Four: Spectatorship, Ethnicity, and MelodramaIntroductory NotesFilm and the Masquerade: Theorizing the Female Spectator, Mary Ann DoaneWomen's Genres, Annette KuhnDesperately Seeking Difference, Jackie StaceyThe Case of the Missing Mother: Maternal Issues Vidor's Stella Dallas, E. Ann Kaplan'Something Else Besides a Mother': Stella Dallas and the Maternal Melodrama, Linda WilliamsTears and Desire: Women and Melodrama in the 'Old' Mexican Cinema, Ana M. LopezThree Men and Baby M, Tania ModleskiThe Carapace that Failed: Ousmane Sembene's iXala/i, Laura MulveyFurther ReadingIndex