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Relevant bibliographies by topics / Feminist film criticism

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Academic literature on the topic 'Feminist film criticism'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2024

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Journal articles on the topic "Feminist film criticism"

1

Freeland, Cynthia, and Patricia Erens. "Issues in Feminist Film Criticism." Journal of Aesthetics and Art Criticism 50, no. 4 (1992): 347. http://dx.doi.org/10.2307/431419.

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Banks, Anna. "Issues in Feminist Film Criticism." American Journalism 9, no. 1-2 (January 1992): 135–36. http://dx.doi.org/10.1080/08821127.1992.10731443.

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Mayne, Judith. "Feminist Film Theory and Criticism." Signs: Journal of Women in Culture and Society 11, no. 1 (October 1985): 81–100. http://dx.doi.org/10.1086/494201.

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Lorraine, Renee Cox, Diane Carson, Linda Dittmar, and Janice R. Welsch. "Multiple Voices in Feminist Film Criticism." Journal of Aesthetics and Art Criticism 53, no. 3 (1995): 328. http://dx.doi.org/10.2307/431364.

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Shrage, Laurie. "Feminist Film Aesthetics: A Contextual Approach." Hypatia 5, no. 2 (1990): 137–48. http://dx.doi.org/10.1111/j.1527-2001.1990.tb00422.x.

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This paper considers some problems with text-centered psychoanalytic and semiotic approaches to film that have dominated feminist film criticism, and develops an alternative contextual approach. I claim that a contextual approach should explore the interaction of film texts with viewers' culturally formed sensibilities and should attempt to render visible the plurality of meaning in art. I argue that the latter approach will allow us to see the virtues of some classical Hollywood films that the former approach has overlooked, and I demonstrate this thesis with an analysis of the film Christopher Strong.,

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Barrett, Ciara. "The feminist cinema of Joanna Hogg." Alphaville: Journal of Film and Screen Media, no. 10 (December 16, 2015): 129–44. http://dx.doi.org/10.33178/alpha.10.08.

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In this article, I provide a scholarly introduction to the cinema of contemporary British director Joanna Hogg that stands in direct contravention to existing auteurist and concomitantly phallogocentric critical discourses on her work. Thus I establish an alternative, feminist theoretical framework for analysis of Hogg’s films, synthesising feminist and structuralist methodologies. Via close textual analysis of each of Hogg’s three feature films, emphasising their implicit critique of phallogocentric narrativisation vis-à-vis the deployment of certain “melodramatic” conventions, I argue that the director creates a filmic space both literal and conceptual for “the female”. Significantly, this contravenes the inherently phallogocentric theoretical framework by which auteurist film criticism has (up until now) largely attempted to “package” Hogg’s work. I thus conclude the cinema of Joanna Hogg represents a subversive challenge to phallogocentric metanarrative, within which auteurist film criticism has traditionally been imbricated.

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Radkiewicz, Małgorzata. "Sexuality, Feminism and Polish Cinema in Maria Kornatowska’s "Eros i film"." Panoptikum, no. 23 (August 24, 2020): 117–30. http://dx.doi.org/10.26881/pan.2020.23.09.

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The text addresses the issue of feminist film criticism in Poland in the 1980s, represented by the book by Maria Kornatowska Eros i film [Eros and Film, 1986]. In her analysis Kornatowska focused mostly on Polish cinema, examined through a feminist and psychoanalytic lens. As a film critic, she followed international cinematic offerings and the latest trends in film studies, which is why she decided to fill the gap in Polish writings on gender and sexuality in cinema, and share her knowledge and ideas on the relationship between Eros and Film. The purpose of the text on Kornatowska’s book was to present her individual interpretations of the approach of Polish and foreign filmmakers to the body, sexuality, gender identity, eroticism, the question of violence and death. Secondly, it was important to emphasize her skills and creative potential as a film critic who was able to use many diverse repositories of thought (including feminist theories, philosophy and anthropology) to create a multi-faceted lens, which she then uses to perform a subjective, critical analysis of selected films.

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Sieńko, Piotr. "“Where is my revolution” – the world in the eyes and works of Maria Sadowska." Kultura i Wartości 31 (August 30, 2021): 125–49. http://dx.doi.org/10.17951/kw.2021.31.125-149.

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Reviewed is a selection of works composed by woman artist composer and songstress Maria Sadowska. These include songs from the “Women's Day” record and from a film of the same title, as well as “Revolution” from the “Table of Contents” album. Due to the method of interpretation I use, the criticism is feminist. I selected precisely these said works for study mainly because the artist has been largely inspired by mothers of feminist thought, such as Susan Sontag, Barbara Kruger and Simone de Beauvoir. The topics touched upon by the artist definitely fall within the interests of feminist criticism. And I hope that taking up the subject of feminism in this context is a timely response to current public interest.

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Flinn, Carol, Mary Ann Doane, Patricia Mellencamp, and Linda Williams. "Re-Vision: Essays in Feminist Film Criticism." SubStance 14, no. 3 (1986): 95. http://dx.doi.org/10.2307/3685000.

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Erb, Cynthia. ": Issues in Feminist Film Criticism . Patricia Erens." Film Quarterly 45, no. 3 (April 1992): 58–59. http://dx.doi.org/10.1525/fq.1992.45.3.04a00120.

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Dissertations / Theses on the topic "Feminist film criticism"

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Garrett, Roberta. "Postmodernist cinema and feminist film criticism." Thesis, Staffordshire University, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.272823.

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Luckner, Victoria. "“I AM NOT A PRINCESS BUT…”: AN IDEOLOGICAL CRITICISM OF “FEMINIST” IDEOLOGIES IN DISNEY’S MOANA." CSUSB ScholarWorks, 2018. https://scholarworks.lib.csusb.edu/etd/753.

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In 2016, Disney animation studios released their newest princess film Moana. The film follows a seemingly feminist plot line of a young female heroine who saves the world from destruction. This study examines Moana (2016) in relation to the views on feminism in the U.S. Disney’s large social and economic influence provides rich grounds for this research. Using an ideological rhetorical criticism, I uncovered the presented and suggested elements of the film. These elements combined with research on U.S. feminist ideology allowed three ideological themes to emerge: ecofeminism, power feminism, and post-feminism. The three themes are threaded to create a seemingly feminist patchwork ideology. I argue that the patchwork ideology that is created is a result of the political and economic conditions present around the production of Moana. Furthermore, I argue that this patchwork ideology is ultimately harmful to current feminist ideology in the U.S. This study adds insight into how feminist ideology is used in popular media.

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Cherry, Brigid S. G. "The female horror film audience : viewing pleasures and fan practices." Thesis, University of Stirling, 1999. http://hdl.handle.net/1893/2268.

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What is at stake for female fans and followers of horror cinema? This study explores the pleasures in horror film viewing for female members of the audience. The findings presented here confirm that female viewers of horror do not refuse to look but actively enjoy horror films and read such films in feminine ways. Part 1 of this thesis suggests that questions about the female viewer and her consumption of the horror film cannot be answered solely by a consideration of the text-reader relationship or by theoretical models of spectatorship and identification. A profile of female horror film fans and followers can therefore be developed only through an audience study. Part 2 presents a profile of female horror fans and followers. The participants in the study were largely drawn from the memberships of horror fan groups and from the readerships of a cross-section of professional and fan horror magazines. Qualitative data were collected through focus groups, interviews, open-ended questions included in the questionnaire and through the communication of opinions and experiences in letters and other written material. Part 3 sheds light on the modes of interpretation and attempts to position the female viewers as active consumers of horror films. This study concludes with a model of the female horror film viewer which points towards areas of female horror film spectatorship which require further analysis. The value of investigating the invisible experiences of women with popular culture is demonstrated by the very large proportion of respondents who expressed their delight and thanks in having an opportunity to speak about their experiences. This study of female horror film viewers allows the voice of an otherwise marginalised and invisible audience to be heard, their experiences recorded, the possibilities for resistance explored, and the potentially feminine pleasures of the horror film identified.

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Layman, Amanda. "The Problem with Pussy Power: A Feminist Analysis of Spike Lee's Chi-Raq." University of Akron / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=akron1490453172203067.

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Goulden, Jan. "The western, the buddy movie and noir : lesbian re-readings of the American action movie." n.p, 1999. http://library7.open.ac.uk/abstracts/page.php?thesisid=13.

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Katona, Leah Andrea. "The Use of Violence as Feminist Rhetoric: Third-Wave Feminism in Tarantino's Kill Bill Films." CSUSB ScholarWorks, 2008. https://scholarworks.lib.csusb.edu/etd-project/2759.

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For the purpose of this thesis, the main focus of the feminist rhetorical criticism method was specifically linked to gender-related power inequities. This method was especially appropriate for the analysis of how film violence is used as a feminist rhetorical strategy in the Kill Bill films. This thesis is more closely aligned with challenging rhetorical standards as it sought to identify feminist counter positions of rhetoric in film violence.

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Hofmann, Ingrid. "Deadly seductions : femme fatales in 90's film noir." Title page, table of contents and abstract only, 1998. http://web4.library.adelaide.edu.au/theses/09ARM/09armh713.pdf.

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König, Christiane. "Ein Blick auf die Rückseite der Leinwand feministische Perspektiven zur Produktion von Weiblichkeit im Diskurs "Film" /." Tübingen : Max Niemeyer, 2004. http://catalog.hathitrust.org/api/volumes/oclc/55963204.html.

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Baney, Jennifer. "Poison Ivy's green screen debut: A rhetorical criticism on erasing identity on screen." Scholarly Commons, 2019. https://scholarlycommons.pacific.edu/uop_etds/3630.

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This project investigates the loss of power on screen for female comic book characters. Specifically, I investigate how scenes create narratives using heteronormativity and over-sexualization of female characters. The artifact of analysis included in this project is Batman and Robin (1997). This text focuses on Poison Ivy, including the background of the character before dissecting her role in the film. Turning to Sonja J. Foss (2009) and her feminist critique as a guide to understanding the implications of this research. Using feminist criticism, I argue that Poison Ivy was put in a lesser position, removed of her power, and was made dependent on men more than she is in comics. Poison Ivy was created from the feminist movement, and Batman and Robin (1997) create tension between the comic book representation and the expectation of gender. Superheroes have skyrocketed in popularity over the past fifteen years, and their narratives are extending to individuals that are not necessarily comic readers. This cultural significance of superheroes suggests that comic books and therefore their characters appeal to a wide audience who has the potential to be influenced, even implicitly, by these messages.

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Gifford, Ben. "Reviewing the critics: Examining popular video game reviews through a comparative content analysis." Cleveland State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=csu1377089044.

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Books on the topic "Feminist film criticism"

1

1938-, Erens Patricia, ed. Issues in feminist film criticism. Bloomington: Indiana University Press, 1990.

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Diane, Carson, Dittmar Linda 1938-, and Welsch Janice R, eds. Multiple voices in feminist film criticism. Minneapolis: University of Minnesota Press, 1994.

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3

Sue, Thornham, ed. Feminist film theory: A reader. Edinburgh: Edinburgh University Press, 1999.

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Feminist auteurs: Reading women's film. London: Wallflower, 2006.

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Rosenberg, Jan. Women's reflections: The feminist film movement. Ann Arbor: UMI, 1995.

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Passionate detachments: An introduction to feminist film theory. London: Arnold, 1997.

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Chick flicks: Theories and memories of the feminist film movement. Durham: Duke University Press, 1998.

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Maggie, Humm. Feminism and film. Edinburgh: Edinburgh University Press, 1997.

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Marcelline, Block, ed. Situating the feminist gaze and spectatorship in postwar cinema. Newcastle upon Tyne: Cambridge Scholars, 2008.

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Situating the Feminist Gaze and Spectatorship in Postwar Cinema. Newcastle (UK): Cambridge Scholars Publishing, 2008.

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Book chapters on the topic "Feminist film criticism"

1

Hanson, Helen. "The Big Seduction: Feminist Film Criticism and the Femme Fatale." In The Femme Fatale: Images, Histories, Contexts, 214–27. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230282018_16.

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Sicondolfo, Claudia. "“Filleing” the Cinema Gap: The Precarity of Toronto’s Necessary Emerging Network of Feminist Film Critics." In Youth Mediations and Affective Relations, 175–95. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-98971-6_11.

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Bassil-Morozow, Helena. "Feminist film criticism." In The Routledge International Handbook of Jungian Film Studies, 115–27. Routledge, 2019. http://dx.doi.org/10.4324/9781315619163-10.

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Creed, Barbara. "Feminist Film Theory:." In Australian Film Theory and Criticism, 169–90. Intellect Books, 2018. http://dx.doi.org/10.2307/j.ctv36xw41t.24.

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"Lesbian Film Theory and Criticism." In Feminist Film Studies, 134–58. Routledge, 2012. http://dx.doi.org/10.4324/9780203146804-11.

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Morris, Meaghan. "Feminist Critique." In Australian Film Theory and Criticism, 31–40. Intellect Books, 2018. http://dx.doi.org/10.2307/j.ctv36xw41t.7.

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Wolfreys, Julian. "22. Feminist Film Studies and Film Theory." In Modern North American Criticism and Theory, 159–66. Edinburgh University Press, 2006. http://dx.doi.org/10.1515/9780748626786-023.

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Stern, Lesley. "Independent Feminist Filmmaking in Australia." In Australian Film Theory and Criticism, 83–95. Intellect Books, 2018. http://dx.doi.org/10.2307/j.ctv36xw41t.14.

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Collins, Felicity. "Independent Feminist Filmmaking and the Black Hole." In Australian Film Theory and Criticism, 210–17. Intellect Books, 2018. http://dx.doi.org/10.2307/j.ctv36xw41t.27.

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Paszkiewicz, Katarzyna. "Impossible Liaisons? Genre and Feminist Film Criticism." In Genre, Authorship and Contemporary Women Filmmakers, 1–33. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474425261.003.0001.

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This chapter traces how, traditionally, feminist analyses of films authored by women tended to centre on experimental or art-house cinema and, subsequently, on genres culturally codified as ‘female’. It then goes on to engage with the most important debates around the concept of ‘women’s cinema’ and their significance in relation to genre theory. In particular, Alison Butler’s insights into women’s cinema as ‘minor cinema’, adapted from Deleuze and Guattari’s (1975) concept of the minor – as an alternative to the negative aesthetics of counter-cinema – is particularly apt here, as it allows for a reconsideration of women’s film authorship in mainstream productions and the ‘major’ language of film genres. Following and expanding this concept, it is argued that genres can be particularly productive spaces from which to think about female filmmakers, film authorship and the cultural politics of gender (especially in terms of the status of the woman author or her lack of status), as will be explored in the following chapters. Finally, instead of locking women filmmakers into a segregated gender sphere defined by ‘women’s culture’, the chapter argues for the mutability of gendered identities and questions the oversimplified notion of gender-to-gender cinematic identification – a typical assumption underpinning the categorisation of genres by gender – and suggests that ‘opportunities for resistance are more available than the opposition between “dominant cinema” and “counter-cinema” allows’ (Cook 2012: 33).

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