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Informationen zum Autor Kristin Lené Hole teaches in the film department at Portland State University. She is the author of Towards a Feminist Cinematic Ethics: Claire Denis , Emmanuel Levinas, and Jean-Luc Nancy (2015). Dijana Jelaca teaches in the Department of Communication and Media Studies at Fordham University. She is the author of Dislocated Screen Memory: Narrating Trauma in Post Yugoslav Cinema (2016). Her areas of inquiry include transnational feminism, trauma and memory. Her work has appeared in Camera Obscura , Feminist Media Studies and elsewhere. E. Ann Kaplan is Distinguished Professor of English and the Women's, Gender and Sexuality Studies Department at Stony Brook University, where she also founded and directed The Humanities Institute for twenty-seven years. Her recent research focuses on trauma as evident in her co-edited book, Trauma and Cinema (2004) and her 2005 monograph, Trauma Culture: The Politics of Terror and Loss in Media and Literature . Her book on Climate Trauma: Foreseeing the Future in Dystopian Film and Fiction continues her research on trauma, and was published in 2015. Patrice Petro is Professor of Film and Media Studies at the University of California, Santa Barbara, where she also serves as Director of the Carsey-Wolf Center. She is the author, editor, and co-editor of eleven books, most recently, After Capitalism: Horizons of Finance, Culture, and Citizenship (2016), Teaching Film (2012), and Idols of Modernity: Movie Stars of the 1920s (2010). Klappentext This comprehensive collection of all new essays assembles major theoretical approaches to cinema, gender, and spectatorship, covering the intersections with other discourses such as class, ethnicity, sexuality, stars, genres, new media, and feminist modes of address.Bringing together leading figures in the field, the volume provides an overview of cinema and gender, while also reflecting a desire to rethink some of the ways in which feminist film theory and filmmaking are historicized, theorized, and taught. Essays are organised into five parts, each highlighting key areas and approaches. The Companion will be an important resource for researchers and students. Zusammenfassung Comprised of 43 innovative contributions, this companion is both an overview of, and intervention into the field of cinema and gender. The essays included here address a variety of geographical contexts, from an analysis of cinema. Islam and women and television under Eastern European socialism, to female audience reception in Nigeria, to changing class and race norms in Bollywood dance sequences. A special focus is on women directors in a global context that includes films and filmmakers from Asia, Africa, Australia, Europe, North and South America. The collection also offers a solid overview of feminist contributions to thinking on genre from the "chick flick" to the action or Western film, to film noir and the slasher. Readers will find contributions on a variety of approaches to spectatorship, reception studies and fandom, as well as transnational approaches to star studies and essays addressing the relationship between feminist film theory and new media. Other topics include queer and trans* cinema, eco-cinema and the post-human. Finally, readers interested in the history of film will find essays addressing the methodological dimensions of feminist film history, essays on silent and studio era women in film, and histories of female filmmakers in a variety of non-Western contexts. Inhaltsverzeichnis List of Figures Acknowledgements List of Contributors Introduction Kristin Lené Hole, Dijana Jelaca, E. Ann Kaplan, Patrice Petro Part I WHAT IS [FEMINIST] CINEMA? Introduction Chapter 1 Classical Feminist Film Theory: Then and (Mostly)...
