Ulteriori informazioni
Informationen zum Autor 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. Klappentext 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. Zusammenfassung This collection of essays examines the role of feminist research in the emergence of Film Studies as a discipline, and traces the developments in theory, criticism and practices of women and cinema since 1973, detailing the contexts within which feminist film theories and practices emerged. Inhaltsverzeichnis Notes on Contributors Introduction Phase One: Pioneers and Classics: The Modernist Mode Introductory Notes Woman's Cinema as Counter-Cinema Visual Pleasure and Narrative Cinema Woman as Sign Klute 1: A Contemporary Film Noir and Feminist Criticism Woman's Stake: Filming the Female Body Male Subjectivity and Celestial Satire: It's a Wonderful Life Is the Gaze Male? Dorothy Arzner: Critical Strategies Phase Two: Critiques of Phase One Theories: New Methods Introductory Notes Lesbian Looks: Dorothy Arzner and Female Authorship The Difficulty of Difference Masochism and the Perverse Pleasures of the Cinema Pleasure, Ambivalence, Identification: Valentino and Female Spectatorship Masculinity as Spectacle: Reflections on Men and Mainstream Cinema Strategies of Coherence: Narrative, Cinema, Feminist Poetics, Yvonne Rainer The Orthopsychic Subject: Film Theory and the Reception of Lacan Phase Three: Race, Sexuality, and Postmodernism in Feminist Theory Introductory Notes Speaking Nearby White Privilege and Looking Relations: Race and Gender in Feminist Film Theory Racism, Representation, and Psychoanalysis That Moment of Emergence Sexual Indifference and Lesbian Representation Phase Four: Spectatorship, Ethnicity, and Melodrama Introductory Notes Film and the Masquerade: Theorizing the Female Spectator Women's Genres Desperately Seeking Difference The Case of the Missing Mother: Maternal Issues in Vidor's Stella Dallas 'Something Else Besides a Mother': Stella Dallas and the Maternal Melodrama Tears and Desire: Women and Melodrama in the 'Old' Mexican Cinema Three Men and Baby M The Carapace that Failed: Ousame Sembene's Xala Further Reading Index ...
Sommario
- Notes on Contributors
- Introduction
- Phase One: Pioneers and Classics: The Modernist Mode
- Introductory Notes
- Woman's Cinema as Counter-Cinema
- Visual Pleasure and Narrative Cinema
- Woman as Sign
- Klute 1: A Contemporary Film Noir and Feminist Criticism
- Woman's Stake: Filming the Female Body
- Male Subjectivity and Celestial Satire: It's a Wonderful Life
- Is the Gaze Male?
- Dorothy Arzner: Critical Strategies
- Phase Two: Critiques of Phase One Theories: New Methods
- Introductory Notes
- Lesbian Looks: Dorothy Arzner and Female Authorship
- The Difficulty of Difference
- Masochism and the Perverse Pleasures of the Cinema
- Pleasure, Ambivalence, Identification: Valentino and Female Spectatorship
- Masculinity as Spectacle: Reflections on Men and Mainstream Cinema
- Strategies of Coherence: Narrative, Cinema, Feminist Poetics, Yvonne Rainer
- The Orthopsychic Subject: Film Theory and the Reception of Lacan
- Phase Three: Race, Sexuality, and Postmodernism in Feminist Theory
- Introductory Notes
- Speaking Nearby
- White Privilege and Looking Relations: Race and Gender in Feminist Film Theory
- Racism, Representation, and Psychoanalysis
- That Moment of Emergence
- Sexual Indifference and Lesbian Representation
- Phase Four: Spectatorship, Ethnicity, and Melodrama
- Introductory Notes
- Film and the Masquerade: Theorizing the Female Spectator
- Women's Genres
- Desperately Seeking Difference
- The Case of the Missing Mother: Maternal Issues in Vidor's Stella Dallas
- 'Something Else Besides a Mother': Stella Dallas and the Maternal Melodrama
- Tears and Desire: Women and Melodrama in the 'Old' Mexican Cinema
- Three Men and Baby M
- The Carapace that Failed: Ousame Sembene's Xala
- Further Reading
- Index
Info autore
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.
