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Books on the topic 'Feminist film theories'
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1
Cheu, Hoi F. Cinematic howling: Women's films, women's film theories. Vancouver: UBC Press, 2007.
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2
Chick flicks: Theories and memories of the feminist film movement. Durham: Duke University Press, 1998.
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3
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.
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.
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.
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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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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Tulloch, John, and Belinda Middleweek. Desire, Intimacy, Transgression, and the Gaze in the Work of Andrea Arnold and Lynne Ramsay. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190244606.003.0013.
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Chapter 11 revisits feminist screen studies notions of the filmic gaze through the simulated, high-impact sex films made by female directors Andrea Arnold and Lynne Ramsay. With particular emphasis on Arnold’s Red Road and Ramsay’s Morvern Callar, the chapter explores the work of Laura Mulvey, Lynn Williams, Anne Kaplan, Elizabeth Grosz, Slavoj Žižek, and Elena del Rio in light of Horeck and Kendall’s “unsayable” and Grønstad’s “unwatchable” concepts to shift emphasis from the gaze to the role of the sensory and the affective in extreme cinema. Overall, this chapter brings into dialogue the concepts of desire, intimacy, and risk in feminist film studies as part of a larger conversation (undertaken throughout this book) about sociological theories of risk, the mapping of embodiment in feminist geography, and interdisciplinary debates more generally.
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Chich, Cécile. A Major Contribution to Feminist Film History. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039683.003.0009.
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This chapter examines the centrality of the work of artistic duo Maria Klonaris and Katerina Thomadaki to the project of writing a feminist women's film history by focusing on the aesthetic and conceptual choices they made and on their thought-provoking contributions to feminist film practice. In particular, it considers Klonaris and Thomadaki's Cinéma corporel (Cinema of the Body). The chapter suggests that the female avant-garde film has, paradoxically, been marginalized by feminist film theory's focus on mainstream cinema as a site of patriarchal representation and spectatorship. It shows that Klonaris and Thomadaki's Cinéma corporel represents, for women's cinema, a strategy of dissidence. In form, content, concept, and approach, it calls for a revisitation of “film” outside the canon established in traditional film history. The chapter underscores the need to “heighten the visibility of women's contributions to traditions of formal innovation and explore how formal innovation enables women to enlarge discourses about women's subjectivity” and art.
13
Watkins, Elizabeth I. Film Theories and Philosophies of Colour: Feminine Desire and the Perception of Sexual Difference. Taylor & Francis Group, 2019.
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14
Kaplan, E. Ann. Troubling Genre/Reconstructing Gender. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036613.003.0005.
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This chapter explores the cultural work that feminist critics performed in “inventing” the genre of the woman's film, and how genre impacts on feminist cinema practices in the current postmodern moment. It argues first that historically, genre was important in providing a useful pathway through which feminist film theorists could assert a critical position vis-à-vis dominant cinematic and critical strategies. That is, feminist critics used genre as a concept to invent a new genre—the women's picture or woman's film—thereby drawing attention to aspects of Hollywood melodrama that had been neglected by (largely male) critics. Secondly, through the examples Sister My Sister (Nancy Meckler, 1994) and Memsahib Rita (Pratibha Parmar, 1994), the chapter shows how some female directors have drawn on traditional Hollywood genres for feminist ends.
15
Smith, Frances. Rethinking the Hollywood Teen Movie. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474413091.001.0001.
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Rethinking the Teen Movie is the first academic monograph to theorise the construction of identity in the Hollywood Teen Movie, one of the most popular, yet academically overlooked film genres. As such, the book constitutes a significant intervention in Film Studies, providing a reconsideration of such key tropes as the male juvenile delinquent figure, the makeover and the teen vampire. Providing detailed case studies of key films from the genre, the book provides an innovative overview of the genre, and its relationship to performativity, intersectionality, post-feminism, and the post-human. Rebel Without a Cause, Grease, Pretty in Pink and Twilight are all considered here in a volume destined to be used widely in undergraduate teaching and academic scholarship alike
16
Disch, Lisa, and Mary Hawkesworth, eds. The Oxford Handbook of Feminist Theory. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199328581.001.0001.
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The Oxford Handbook of Feminist Theory provides an overview of the analytical frameworks and theoretical concepts feminist theorists have developed to challenge established knowledge. Leading feminist theorists, from around the globe, provide in-depth explorations of a diverse array of subject areas, capturing a plurality of approaches. The Handbook raises new questions, brings new evidence, and poses significant challenges across the spectrum of academic disciplines, demonstrating the interdisciplinary nature of feminist theory. The chapters offer innovative analyses of the central topics in social and political science (e.g. civilization, development, divisions of labor, economies, institutions, markets, migration, militarization, prisons, policy, politics, representation, the state/nation, the transnational, violence); cultural studies and the humanities (e.g. affect, agency, experience, identity, intersectionality, jurisprudence, narrative, performativity, popular culture, posthumanism, religion, representation, standpoint, temporality, visual culture); and discourses in medicine and science (e.g. cyborgs, health, intersexuality, nature, pregnancy, reproduction, science studies, sex/gender, sexuality, transsexuality) and contemporary critical theory that have been transformed through feminist theorization (e.g. biopolitics, coloniality, diaspora, the microphysics of power, norms/normalization, postcoloniality, race/racialization, subjectivity/subjectivation). The Handbook identifies the limitations of key epistemic assumptions that inform traditional scholarship and shows how theorizing from women’s and men’s lives has profound effects on the conceptualization of central categories, whether the field of analysis is aesthetics, biology, cultural studies, development, economics, film studies, health, history, literature, politics, religion, science studies, sexualities, violence, or war.
17
Lothian, Alexis. Old Futures. NYU Press, 2018. http://dx.doi.org/10.18574/nyu/9781479811748.001.0001.
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Old Futures traverses the history of imagined futures from the 1890s to the 2010s, interweaving speculative visions of gender, race, and sexuality from literature, film, and digital media. Centering works by women, queers, and people of color that are marginalized within most accounts of the genre, the book offers a new perspective on speculative fiction studies while reframing established theories of queer temporality by arguing that futures imagined in the past offer new ways to queer the present. Imagined futures have been central to the creation and maintenance of imperial domination and technological modernity; Old Futures rewrites the history of the future by gathering together works that counter such narratives even as they are part of them. Lothian explores how queer possibilities are constructed and deconstructed through extrapolative projections and affective engagements with alternative temporalities. The book is structured in three parts, each addressing one convergence of political economy, theoretical framework, and narrative form that has given rise to a formation of speculative futurity. Six main chapters focus on white feminist utopias and dystopias of the nineteenth and twentieth centuries; on Afrofuturist narratives that turn the dehumanization of black lives into feminist and queer visions of transformation; on futuristic landscapes in queer speculative cinema; and on fan creators’ digital interventions into televised futures. Two shorter chapters, named “Wormholes” in homage to the science fiction trope of a time-space distortion that connects distant locations, highlight current resonances of the old futures under discussion.
18
González-López, Irene, and Michael Smith, eds. Tanaka Kinuyo. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474409698.001.0001.
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This is the first book in English dedicated to the actress and director Tanaka Kinuyo. Praised as amongst the greatest actors in the history of Japanese cinema, Tanaka’s career spanned the industrial development of cinema - from silent to sound, monochrome to colour. Alongside featuring in films by Ozu, Mizoguchi, Naruse and Kurosawa, Tanaka was also the only Japanese woman filmmaker between 1953 and 1962, and her films tackled distinctly feminine topics such as prostitution and breast cancer. Because her career overlaps with a transformative period in Japan, especially for women, this close analysis of her fascinating life and work offers new perspectives into the Japanese history of women and classical era of national cinema. The first half of the book focuses on Tanaka as actress and analyses the elements and meanings associated with her star image, and her powerful embodiment of diverse, at times contradictory, ideological discourses. The second half is dedicated to Tanaka as director and explores her public image as filmmaker and her depiction of gender and sexuality against the national history in order to reflect on her role and style as author. With a special focus on the melodrama genre and on the sociopolitical and economic contexts of film production, the book offers a revision of theories of stardom, authorship, and women’s cinema. In examining Tanaka’s iconic reification of femininities in relation to politics, national identity, and memory, the chapters shed light on the cultural construction of female subjectivity and sexuality in Japanese popular culture.
19
Mitchell, Scott A. Buddhism in America. Bloomsbury Publishing Plc, 2016. http://dx.doi.org/10.5040/9781474204064.
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Buddhism in America provides the most comprehensive and up to date survey of the diverse landscape of US Buddhist traditions, their history and development, and current methodological trends in the study of Buddhism in the West, located within the translocal flow of global Buddhist culture. Divided into three parts (Histories; Traditions; Frames), this introduction traces Buddhism's history and encounter with North American culture, charts the landscape of US Buddhist communities, and engages current methodological and theoretical developments in the field. The volume includes: - A short introduction to Buddhism - A historical survey from the 19th century to the present - Coverage of contemporary US Buddhist communities, including Theravada, Mahayana, and Vajrayana Theoretical and methodological issues and debates covered include: - Social, political and environmental engagement - Race, feminist, and queer theories of Buddhism - Secular Buddhism, digital Buddhism, and modernity - Popular culture, media, and the arts Pedagogical tools include chapter summaries, discussion questions, images and maps, a glossary, and case studies. The book's website provides recommended further resources including websites, books and films, organized by chapter. With individual chapters which can stand on their own and be assigned out of sequence, Buddhism in America is the ideal resource for courses on Buddhism in America, American Religious History, and Introduction to Buddhism.