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This pioneering and influential work of feminist theory has been extensively updated by the author to chart the changes in feminist film theory and practice between the eighties and the nineties. Readers, whether engaged in the making of films, the study of them, or simply the pleasure of viewing them, will appreciate the way in which the author discusses and demystifies the current methods of analysis, including semiotic and psychoanalytical approaches.
The films used as points of discussion are drawn from both mainstream and alternative cinema, institutions which are themselves examined in relation to their production, distribution and exhibition practices
The thesis proposed by Annette Kuhn is an exciting one: namely, that feminism and cinema, taken together, could provide the basis for new forms of expression, providing the opportunity for a truly feminist alternative cinema in terms of film language, of reading that language and of representing the world.
|Pt. II||Dominant Cinema||19|
|2||The Pleasure Machine||21|
|Pt. III||Rereading Dominant Cinema: Feminism and Film Theory||65|
|4||Making Visible the Invisible||67|
|5||Trouble in the Text||82|
|6||The Body in the Machine||106|
|Pt. IV||Replacing Dominant Cinema: Feminism and Film Practice||125|
|9||The Production of Meaning and the Meaning of Production||172|
|10||Bent on Deconstruction||193|
|11||Three Case Studies||207|
|12||The Wild Zone||218|
|Appendix: Film Details||252|