Relevant bibliographies by topics / Feminist film theories

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Feminist film theories'

Author: Grafiati
Published: 6 July 2021
Last updated: 1 February 2022

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Journal articles on the topic "Feminist film theories"

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Dutta, Minakshi. "A Reading of Bhabendra Nath Saikia's Films from Feminist Lens." CINEJ Cinema Journal 8, no. 2 (December 3, 2020): 247–74. http://dx.doi.org/10.5195/cinej.2020.261.

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Feminist movement deconstructs the constructed images of women on the screen as well. The gap between real and reel woman is a vibrant topic of discussion for the feminist scholars. As a regional genre of Indian film industry Assamese film flourished during the third decades of twentieth century. Like the films of other parts of the world, Assamese films also constructing the image of woman, particularly Assamese women, in its own way of projection. Hence, this article is an attempt to explore the questions related to women’s representation by taking the films of Assamese director Dr. Bhabendra Nath Saikia as reference. Moreover, as per the demand of the article it will cover a historical overview of the representation of women in Indian cinema and Assamese cinema. Different theories from psychoanalysis and feminism will be applied to analyze the select movies.
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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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Grant, C. "Secret agents: Feminist theories of women's film authorship." Feminist Theory 2, no. 1 (April 1, 2001): 113–30. http://dx.doi.org/10.1177/14647000122229325.

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Rogers, Jamie Ann. "“Sometimes It Seems You’re in Another World”." Camera Obscura: Feminism, Culture, and Media Studies 35, no. 2 (September 1, 2020): 125–57. http://dx.doi.org/10.1215/02705346-8359552.

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This article traces the development of Afrocentric feminist aesthetics within the LA Rebellion, a film movement made up primarily of Black film students at UCLA from 1970 to the late 1980s. It argues that these aesthetics are integral to the movement’s heterogeneous but radical politics, even as the filmmakers express them through widely different means. The article focuses primarily on three films that span the final decade in which Rebellion filmmakers were active at UCLA: Barbara McCullough’s Water Ritual #1: An Urban Rite of Purification (1979), Alile Sharon Larkin’s A Different Image (1982), and Zeinabu irene Davis’s Cycles (1989). Each of these films’ renderings of Afrocentric feminist aesthetics—through attention to African oral and mythical traditions, African and Pan-African-inflected mise-en-scène, rich col-oration and film stock, and play with nonlinear, nonteleological time—register at once the sedimented condition of patriarchal anti-Blackness in the United States and Black feminists’ ongoing projects of freedom that perdure within and despite that condition. In many ways, such representations anticipate contemporary Black feminist grapplings with recent Black studies scholarship that orbit around Afro-pessimist theories of Black ontology and social death. Through their expressions of Afrocentric feminist forms of communal, caring, and creative living, the films represent a form of Black social life that expresses value systems and ways of being that are incompatible with social death, even when they are inevitably moored within its ontological structure.
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Hirschfeld-Kroen, Leana. "Weavers of Film." Feminist Media Histories 7, no. 3 (2021): 104–34. http://dx.doi.org/10.1525/fmh.2021.7.3.104.

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This article uses AT&T’s 1910s–30s “Weavers of Speech” campaign to read on-screen telegraph and telephone operators as vernacular translators of cinematic syntax and hypervisible avatars for the invisible cutter girls who “knitted the pieces of film together” on studio lots. While operators largely played peripheral roles in classical films, two transitional periods saw them rise to the surface of story en masse, as if temporarily hired to sew over a rupture. A comparative analysis of telephone girls’ enlistment as temp techno-pedagogues during US film’s introduction of crosscutting and European film’s polyglot transition to sound suggests women’s film-weaving labor as an alternative to the surgical rhetoric (suture) and auteur models that dominate theories of film editing. More broadly, the article suggests that the culturally conspicuous feminization of low-level information labor offers feminist film historians a crucial “mediatrix” for uncovering woman workers hidden in the cut of film.
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Lord, Susan. "Chick Flicks: Theories and Memories of the Feminist Film Movement B. Ruby Rich; Feminism and Documentary Edited by Diane Waldman and Janet; Feminism and Film Maggie Humm; Feminist Film Theory: A Reader Edited by Sue Thornham; Passionate Detachments: An Introduction to Feminist Film Theory Sue Thornham." Canadian Journal of Film Studies 8, no. 2 (October 1999): 90–96. http://dx.doi.org/10.3138/cjfs.8.2.90.

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Swift, Susan. ": Chick Flicks: Theories and Memories of the Feminist Film Movement . Ruby B. Rich." Film Quarterly 53, no. 4 (July 2000): 69. http://dx.doi.org/10.1525/fq.2000.53.4.04a00200.

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Paveck, Hannah. "Taciturn Masculinities: Radical Quiet and Sounding Linguistic Difference in Valeska Grisebach's Western." Film-Philosophy 24, no. 1 (February 2020): 46–66. http://dx.doi.org/10.3366/film.2020.0128.

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This article brings into dialogue the work of Jean-Luc Nancy and Berlin School filmmaker Valeska Grisebach to consider the relationship between film sound, gender and settler colonialism in Western ( Valeska Grisebach, 2017 ). I draw connections between Nancy's Listening and Eugenie Brinkema's concept of radical quiet to examine how the film's sonic composition attends to the sonority of silence and voice. I argue that Western combines sonic strategies of radical quiet and part-subtitled multilingual dialogue to undermine the sovereign silence associated with the genre's white heroic masculinity and challenge linguistic nonreciprocity in settler colonial landscapes. The article contends that these strategies work together to destabilise mastery within the narrative's discursive economy and within the spectatorial experience, shifting the spectator towards a mode of Nancean listening that invites defamiliarising encounters with foreignness that depart from existing theories of embodied spectatorship. Western brings to the fore the political stakes of silence, linguistic difference, and Nancean listening as model of communication, as they intersect with the film's feminist and anti-colonialist project of revisionist critique.
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Park, Shelley M. "Unsettling Feminist Philosophy: An Encounter with Tracey Moffatt's Night Cries." Hypatia 35, no. 1 (2020): 97–122. http://dx.doi.org/10.1017/hyp.2019.11.

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AbstractThis essay seeks to unsettle feminist philosophy through an encounter with Aboriginal artist Tracey Moffatt, whose perspectives on intergenerational relationships between (older) white women and (younger) Indigenous women are shaped by her experiences as the Aboriginal child of a white foster mother growing up in Brisbane, Australia during the 1960s. Moffatt's short experimental film Night Cries provides an important glimpse into the violent intersections of gender, race, and power in intimate life and, in so doing, invites us to see how colonial and neocolonial policies are carried out through women's domestic labor. Seeing cross-generational and cross-racial intimacy through Moffatt's lens, I suggest, helps us to unsettle both feminist theories of motherhood and feminist practices of mentoring.
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Haastrup, Helle Kannik. "Hermione’s feminist book club: celebrity activism and cultural critique." MedieKultur: Journal of media and communication research 34, no. 65 (December 21, 2018): 98–116. http://dx.doi.org/10.7146/mediekultur.v34i65.104842.

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In this article, I analyse how a celebrity can perform cultural critique and feminist activism using her Instagram account and online book club. The celebrity in question is British film star Emma Watson, famous for playing Hermione Granger in the Harry Potter franchise. Watson is performing her activism on gender equality and cultural critique by recommending feminist literature. This study undertakes an analysis of Watson’s presentations of self on Instagram and in her letters in the Our Shared Shelf book club. The analysis takes its point of departure from theories of social media and celebrity culture and film studies as well as investigations of celebrity book clubs and celebrity activism. This case study of Emma Watson’s performance of cultural critique and activism on specific media platforms demonstrates that Watson’s authority is based on her star image as well as the fact that her book club letters and Instagram posts mutually reinforce one another’s written personal arguments and visual documentation.
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Dissertations / Theses on the topic "Feminist film theories"

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Su, Xin. "Ideas of film authorship : a study of theories and concepts of agency and subjectivity in film authorship, with a conclusion on the possible configuration of a future theoretical model of feminist film authorship." HKBU Institutional Repository, 2010. https://repository.hkbu.edu.hk/etd_ra/1101.

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Dobbs, Rhonda R. "The three musketeers : social process theories, feminism and violence in the mass media /." Thesis, This resource online, 1996. http://scholar.lib.vt.edu/theses/available/etd-02132009-172539/.

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Su, Donghui. "两代中国女性导演视角下的女性电影中女性意识之比较研究 : —以《人鬼情》和《送我上青云》为例." Thesis, Högskolan Dalarna, Institutionen för språk, litteratur och lärande, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:du-37596.

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As a product of the western feminist movement, feminist films have become an important tool for displaying feminist connotations and reflecting femalec onsciousness. With the advancement of society and the awakening of female consciousness, feminist film theory, criticism and practice have gradually taken a place in the film system dominated by male discourse power, and have constantly tried to speak for women on the big screen. After China's reform and opening up, feminism took root in China. In the 1980s, under the influence of western feminist film theory and practice, Chinese female filmmakers also began to try to express the situation and demands of Chinese women through films. After more than 40 years of drastic changes in reform and opening up, major changes have taken place in alllevels of current Chinese society. Chinese feminism and feminist films have also changed in accordance with the trend of the times. When the next generation of feminist filmmakers stand on the shoulders of their predecessors, they incorporate the spirit of the new era for the expression of feminism. This article selects two representative Chinese feminist films, which are "Woman Demon Human" and "Send Me to the Clouds". Through the comparison and analysis of the thematic contents, narrative styles and lens languages of the two films, the differences between the two are revealed in three aspects of feminist connotation,which include the subjective consciousness, female desires and gender differences.
作为西方女性主义运动的产物，女性主义电影成为了展现女性主义内涵和反映女性意识的重要工具。随着社会的进步和女性意识的觉醒，女性主义电影理论、批评与实践在以男性话语权为主导电影体系中渐渐占据了一席之地，并不断尝试在大荧幕上为女性发声。中国改革开放后，西方女性主义思潮进一步影响中国。八十年代中国的女性电影人在西方女性主义电影理论与实践的影响下，也开始尝试通过电影来表达中国女性的处境和诉求。在经历改革开放四十多年的剧变后，当下的中国社会各个层面都发生重大变革。中国的女性主义以及女性主义电影也顺应时代的潮流而改变。下一代的女性主义电影人站在前辈们的肩膀上，为女性主义的表达融入了新时代的精神。 本文从上世纪八十年代和近十年的中国影坛选取两部具有代表性的女性主义电影——《人鬼情》和《送我上青云》，并通过对两部电影在主题内容、叙事方式和镜头语言上的分析，发现两部电影在呈现女性意识的三个不同方面——主体性意识、女性欲望和性别差异上的表达呈现出不同的侧重点。由此，从而以小见大，从局部来窥见两个时代的女性主义电影所反映的女性主义的时代性内涵。
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Jhong, Ting-Yi, and 鍾庭宜. "Visual and Gender Excesses in Wong Kar-wai’s Fallen Angels: A Critical Analysis with Feminist Film Theories." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/pf3r2s.

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碩士
國立陽明大學
視覺文化研究所
106
The academic research of Fallen Angels and gender study in the field of Wong Kai-wai’s films are deficient. However, the gender images in Fallen Angels are still extraordinary and subvert. In this study, I will investigate the gender images and spectatorship in Fallen Angels in terms of feminist film theories. Also, this research will demonstrate how this film presents gender images through the narrative context, film editing and movement of camera. This thesis will be divided into three chapters. In chapter one, I will examine the three female characters in Fallen Angels, and demonstrate how they express their subjectivity and subvert the stereotypical images of woman in the patriarchal society. In chapter two, I will argue that the use of 6.8 mm super-wide angle lens transforms the spectacle of woman to a distorted and alienation face. Therefore, male spectators cannot desire the images of woman directly. I will also discuss the costumes of female characters. The strange costumes cause different perceptions to both male and female spectators. This also demonstrates the heterogeneity and agency in them. In chapter three, I will explain the androgynous of male characters in Fallen Angels, and suggest that the gender trait can subvert the patriarchal cultural reception of masculinity and offer female spectators visual pleasure. In this research mix through the investigation of gender images and audience spectatorship, I want to emphasize the agency of spectators and provide alternative interpretation. I hope this thesis can complement the gender study in Wong Kar-wai’s films and reevaluate Fallen Angels.
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Bubeníčková, Kateřina. "Analýza filmových postav kyboržek z perspektivy postmoderních a post-teoretických přístupů k tělu a konstituování identity." Master's thesis, 2016. http://www.nusl.cz/ntk/nusl-344129.

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The thesis focuses on the analysis of the basic types of the film characters portraying artificial women: creatures who combine "femininity" (humanity) and technology, and who show female sexual characteristics or features that are stereotypically perceived as female-like (e.g. female cyborgs, female androids, female robots). The characters are analyzed and approached from the perspective of postmodern philosophy and post-theory studies; the forming of their body and identity is analyzed on the account of the narrative. The aim of the thesis is to explore whether the film representations of female cyborgs are similar to real cyborgs in the sense that they bring liberalization from the point if view of posthumanism and cyberfeminism, or whether they can only be perceived as the prime form of the Foucaltian body-as-machine, i.e. perfectly controllable precise technicist bodies which are created by the current power dispositions. The characters are divided into four categories, based on their predominant physical and "social" functions: a sexbot, a domesticated artificial woman, a destructive artificial woman and an emotional/intelligent artificial woman. The following identification and interpretation of the body, identity, relationships and the narrative structures are based on the theoretical...
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Bubeníčková, Kateřina. "Dokonalá žena : analýza filmových postav umělých ženských bytostí z perspektivy postmoderních a post-teoretických přístupů k tělu a konstituování identity." Master's thesis, 2016. http://www.nusl.cz/ntk/nusl-353977.

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The thesis focuses on the analysis of the basic types of the film characters portraying artificial women: creatures who combine "femininity" (humanity) and technology, and who show female sexual characteristics or features that are stereotypically perceived as female-like (e.g. female cyborgs, female androids, female robots). The characters are analyzed and approached from the perspective of postmodern philosophy and post-theory studies; the forming of their body and identity is analyzed on the account of the narrative. The aim of the thesis is to explore whether the film representations of female cyborgs are similar to real cyborgs in the sense that they bring liberalization from the point if view of posthumanism and cyberfeminism, or whether they can only be perceived as the prime form of the Foucaltian body-as-machine, i.e. perfectly controllable precise technicist bodies which are created by the current power dispositions. The characters are divided into four categories, based on their predominant physical and "social" functions: a sexbot, a domesticated artificial woman, a destructive artificial woman and an emotional/intelligent artificial woman. The following identification and interpretation of the body, identity, relationships and the narrative structures are based on the theoretical...
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Books on the topic "Feminist film theories"

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Cheu, Hoi F. Cinematic howling: Women's films, women's film theories. Vancouver: UBC Press, 2007.

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

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Baer, Hester. German Cinema in the Age of Neoliberalism. NL Amsterdam: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463727334.

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This book presents a new history of German film from 1980-2010, a period that witnessed rapid transformations, including intensified globalization, a restructured world economy, geopolitical realignment, and technological change, all of which have affected cinema in fundamental ways. Rethinking the conventional periodization of German film history, Baer posits 1980-rather than 1989-as a crucial turning point for German cinema's embrace of a new market orientation and move away from the state-sponsored film culture that characterized both DEFA and the New German Cinema. Reading films from East, West, and post-unification Germany together, Baer argues that contemporary German cinema is characterized most strongly by its origins in and responses to advanced capitalism. Informed by a feminist approach and in dialogue with prominent theories of contemporary film, the book places a special focus on how German films make visible the neoliberal recasting of gender and national identities around the new millennium.
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Cinematic Howling: Women's Films, Women's Film Theories. University of British Columbia Press, 2008.

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Cinematic Howling: Women's Films, Women's Film Theories. University of British Columbia Press, 2007.

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Rich, B. Ruby. Chick Flicks: Theories and Memories of the Feminist Film Movement. Duke University Press, 1998.

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Neumeyer, David, ed. The Oxford Handbook of Film Music Studies. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780195328493.001.0001.

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This volume explores the history and evolution of film music studies from the silent film to the sound film era. It examines the relevance of various theories, including ontological, feminist, queer, critical and apparatus theories, in film studies and analyzes the influence of theater or opera music on the development of film soundtrack. It also discusses the history of video game music and presents two case studies involving the analysis of the musical scores for Cecil B. DeMille’s The Ten Commandments and Terry Gilliam’s 12 Monkeys.
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Wróbel-Best, Jolanta, ed. Wheels of Change: Feminist Transgressions in Polish Culture and Society. University of Warsaw Press, 2021. http://dx.doi.org/10.31338/uw.9788323549482.

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Using rich and varied narrative images and resources, literary artworks, excerpts from philosophical and sociological writings, musicological theories and film studies, historical documents, and other materials, this collection of essays strongly sides with the feminist theory. All chapters tirelessly construct feminist discourse by depicting a new reality, language, and values to assess as well as understand the life, goals, and social achievements of women over a span of centuries in Polish culture and society. Feminist transgression is envisioned as a thematic category bridging diverse, seemingly loose, distant, and even apparently contradictory women’s accounts. This theme develops a cohesiveness among chapters and provides an underlying unity, built on the coincidence of opposites, known in Latin as the principle of “coincidentia oppositorum.” Even if the dialogue among chapters may be perceived on the surface as difficult, the volume’s parts communicate deeply with each other by narrating, detailing, elaborating, and enlarging in space and time the presented dynamics of women’s transgressions. Transgression thus creates a special form of debate.
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Gledhill, Christine, and Julia Knight. Introduction. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039683.003.0001.

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This book examines film history with the goal of reframing it to accommodate new approaches to women's filmmaking. It brings together a wide range of case studies investigating women's work in cinema across its histories as they play out in different parts of the world from the pioneering days of silent cinema through recent developments in HD transmissions of live opera. It also tackles a range of conceptual and methodological questions about how to research women's film history—how, for example, to reconceptualize film history in order to locate the impact of women in that history. Furthermore, the book looks at the debates over relations among gender, aesthetics, and feminism. In this introduction, a number of interrelated themes and issues that can be grouped into four broad problematics are discussed: evidence and interpretation; feminist expectations of both contemporary and past women's filmmaking; the impact of women's film history on existing historical narratives and theories; and factors that determine the visibility of women's films and build audiences for them.
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Tulloch, John, and Belinda Middleweek. Introduction. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190244606.003.0001.

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This introduction traces the book’s origins across three significant dialogical moments. First is the mediated moment of television producer Middleweek interviewing the 7/7 survivor Tulloch, followed by their intertextual engagement with two texts of intimacy, Chéreau’s film and Giddens’s book. Second is an interdisciplinary dialogue employing feminist mapping theory to forge a “bridging” and “rainbow” scholarship between disciplinary fields that provide ways of seeing real sex films, including risk sociology, feminist psychoanalytical theory, and critical geopolitical theory, in combination with concepts of genre, authorship, production, stardom, social audience, and spectatorship. Third is a dialogue within theories of risk modernity exploring the tension between the “demand for constant emotional closeness” and the quest for “confluent love” in real sex film as the utopia and dystopia of love are played out through cinema.
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Book chapters on the topic "Feminist film theories"

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Yue, Genevieve. "Introduction." In Girl Head, 1–32. Fordham University Press, 2020. http://dx.doi.org/10.5422/fordham/9780823289554.003.0001.

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The introduction situates the project among several strands of film scholarship: feminist film analysis, film and media archaeology, and feminist materialism. It begins by casting its investigation of sites of film materiality as a methodological intervention in feminist film analysis, moving inquiry away from representation, which looks at the image onscreen, and toward industrial and institutional processes. Next, the book’s method is distinguished from two approaches: first, feminist scholarship that is oriented toward restoring women to their absent places in film history, and second, aesthetic theories of the origins of art that are predicated on the disappearance of a woman’s (Medusa) body. The chapter argues that gender is more than a lack or a structuring absence and that it can be read in and through the processes that undergird the materiality of film.
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Roche, David. "“That’s the Excuse You Guys Use Whenever You Want to Exclude Me from Something”." In Quentin Tarantino, 75–126. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496819161.003.0004.

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This chapter focuses first on the relation between gender and genre conventions on the general level, then on how the narratives are often based on an assault on patriarchy, third on the linguistic deconstruction of gender effected through the usage of specific words, and finally on how some of the major concerns of feminist film theories are taken into account in the figuration of the body. I argue that deconstructing the material his films are based on enables Tarantino to come to terms with genre films and, more generally, cinema, and, in turn, qualify the theories he engages with. In so doing, his cinematic metafictions endeavor to resolve the contradiction between the celebration and the deconstruction of film genre: redeeming it by queering it, so to speak
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"The realist debate in the feminist film: a historical overview of theories and strategies in realism and the avant-garde theory film (1971–81)." In Women & Film, 137–53. Routledge, 2013. http://dx.doi.org/10.4324/9780203135310-19.

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Paszkiewicz, Katarzyna. "Repeat to Remake: Diablo Cody and Karyn Kusama’s Jennifer’s Body." In Genre, Authorship and Contemporary Women Filmmakers, 60–99. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474425261.003.0003.

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If, as Jane Gaines (2012) suggests, instead of ‘transgressing’ the formal dictates of the industrial genre (that is, instead of ‘going against genre’), some women filmmakers ‘go with genre’, this might be particularly so in the case of horror cinema. The analysis of the much-maligned Jennifer’s Body (2009), written by Diablo Cody and directed by Karyn Kusama, demonstrates precisely this point. The chapter begins by discussing the marketing of Jennifer’s Body, in order to show how those in charge of film distribution and publicity used the director’s and writer’s gender as a promotional tool, and how the filmmakers themselves might have determined certain feminist and postfeminist readings of their film. These readings are contextualised within Diablo Cody’s broader self-promotional activities and her “commercial auteurism” (Corrigan 1991) and raise several questions about what is at stake when women practitioners make horror films and the implications should a filmmaker self-identify as a feminist filmmaker. The chapter then offers a close examination of Jennifer’s Body by rethinking the theories of Barbara Creed (1993) and Carol J. Clover (1992) and by inscribing the film within the wider context of teen movies and postfeminist media culture, making room for reflection on female spectatorial pleasures. It concludes that rather than undoing the horror genre, Jennifer’s Body explores its productive potential, participating in its continuous re-inscription of the relationship between women and violence.
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"BEGINNINGS." In Feminist Film Theorists, 27–42. Routledge, 2006. http://dx.doi.org/10.4324/9780203357026-10.

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"THE MALE GAZE." In Feminist Film Theorists, 43–56. Routledge, 2006. http://dx.doi.org/10.4324/9780203357026-11.

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"THE FEMALE VOICE." In Feminist Film Theorists, 57–72. Routledge, 2006. http://dx.doi.org/10.4324/9780203357026-12.

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"TECHNOLOGIESOF GENDER." In Feminist Film Theorists, 73–86. Routledge, 2006. http://dx.doi.org/10.4324/9780203357026-13.

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"QUEERING DESIRE." In Feminist Film Theorists, 87–102. Routledge, 2006. http://dx.doi.org/10.4324/9780203357026-14.

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10

"THE MONSTROUS-FEMININE." In Feminist Film Theorists, 103–16. Routledge, 2006. http://dx.doi.org/10.4324/9780203357026-15.

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