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Relevant bibliographies by topics / Feminist film theories

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Academic literature on the topic 'Feminist film theories'

Author: Grafiati

Published: 6 July 2021

Last updated: 1 February 2022

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Books on the topic "Feminist film theories"

1

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

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2

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

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3

Baer, Hester. German Cinema in the Age of Neoliberalism. 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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4

Cinematic Howling: Women's Films, Women's Film Theories. University of British Columbia Press, 2008.

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5

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

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6

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

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7

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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8

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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9

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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10

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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