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Informationen zum Autor Constance Penley teaches film history and theory at the University of Rochester and is co-editor of Camera Obscura: A journal of Feminism and Film Theory. She 1s the author of The Future of an Illusion: Film, Feminism, and Psychoanalysis. Klappentext First published in 1988. Feminism and Film Theory traces the major issues in feminist film theory as they have evolved over the last decade. Comprised of essays that are classics of this intellectually sophisticated area of cultural studies, Feminism and Film Theory makes available much sought after essays that are often difficult to find. Emphasizing the polemical challenge of feminism to film theory, this anthology forces us to reconsider film theory's most basic ideas about genre, narrative, image, spectatorship, and audience. The essays offer a model for a politically engaged critique of contemporary thought. Feminism and Film Theory will be of great interest to students and scholars concerned with film, critical theory, art and media, cultural studies, or feminism. Zusammenfassung First published in 1988. Feminism and Film Theory traces the major issues in feminist film theory as they have evolved over the last decade. Comprised of essays that are classics of this intellectually sophisticated area of cultural studies, Feminism and Film Theory makes available much sought after essays that are often difficult to find. Emphasizing the polemical challenge of feminism to film theory, this anthology forces us to reconsider film theory's most basic ideas about genre, narrative, image, spectatorship, and audience. The essays offer a model for a politically engaged critique of contemporary thought. Feminism and Film Theory will be of great interest to students and scholars concerned with film, critical theory, art and media, cultural studies, or feminism. Inhaltsverzeichnis Chapter 1 Introduction The Lady Doesn't Vanish: Feminism and Film Theory, Constance Penley; Chapter 2 The Place of Woman in the Cinema of Raoul Walsh, Pam Cook, Claire Johnston; Chapter 3 Dorothy Arzner: Critical Strategies, Claire Johnston; Chapter 4 Approaching the Work of Dorothy Arzner, Pam Cook; Chapter 5 Visual Pleasure and Narrative Cinema, Laura Mulvey; Chapter 6 Afterthoughts on ";Visual Pleasure and Narrative Cinema" inspired by Duel in the Sun[Laura Mulvey; Chapter 7 Rereading the Work of Claire Johnston, Janet Bergstrom; Chapter 8 Feminine Discourse in Christopher Strong[Jacquelyn Suter; Chapter 9 The Popular Film as a Progressive Text-a Discussion of Coma[Elizabeth Cowie; Chapter 10 Paranoia and the Film System, Jacqueline Rose; Chapter 11 Enunciation and Sexual Difference, Janet Bergstrom; Chapter 12 Alternation, Segmentation, Hypnosis: Interview with Raymond Bellour-An Excerpt, Janet Bergstrom; Chapter 13 Caughtand Rebecca:The Inscription of Femininity as Absence, Mary Ann Doane; Chapter 14 Woman's Stake: Filming the Female Body, Mary Ann Doane; Chapter 15 India Song/Son nom de Venise dans Calcutta désert:The Compulsion to Repeat, Joan Copjec; Chapter 16 The Cinema of Lol V. Stein, Elisabeth Lyon;...
