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Books on the topic 'Feminist film theory'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

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

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2

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

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3

Jaspert, Poppy. Feminist film theory: The piano. LCP, 2001.

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4

Copjec, Joan. Apparatus and Umbra: A feminist critique of film theory. University MicrofilmsInternational, 1988.

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5

Abele, Silke. Even angels fall: Feminist film theory and the representations of girls in American teen film. University of Birmingham, 2000.

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6

Alexandra, Juhasz, ed. Women of vision: Histories in feminist film and video. University of Minnesota Press, 2001.

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7

Modleski, Tania. The women who knew too much: Hitchcock and feminist theory. Routledge, 1988.

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8

Modleski, Tania. The women who knew too much: Hitchcock and feminist theory. Routledge, 1989.

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9

Atkinson, Alastair James. Gazing into the dark continents: The function of fantasy and masquerade within narrative cinema, based in feminist film theory. University of Derby], 1998.

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10

Oliver, Kelly. Knock me up, knock me down: Images of pregnancy in Hollywood film. Columbia University Press, 2012.

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11

1948-, Penley Constance, ed. Feminism and film theory. Routledge, 1988.

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12

1948-, Penley Constance, and British Film Institute, eds. Feminism and film theory. BFI Publishing, 1988.

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13

Constance, Penley, ed. Feminism and film theory. Methuen, 1988.

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14

Christine, Gledhill, and British Film Institute, eds. Home is where the heart is: Studies in melodrama and the woman's film. BFI Pub., 1987.

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15

Lauretis, Teresa De. Technologies of gender: Essays on theory, film, and fiction. Indiana University Press, 1987.

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16

Lauretis, Teresa De. Technologies of gender: Essays on theory, film, and fiction. Indiana University Press, 1987.

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17

Doane, Mary Ann. Femmes fatales: Feminism, film theory, psychoanalysis. Routledge, 1999.

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18

Shimizu, Celine Parrenas. The hypersexuality of race: Performing Asian/American women on screen and scene. Duke University Press, 2008.

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19

Thornham, Sue. Feminist Film Theory. Edinburgh University Press, 1999. http://dx.doi.org/10.1515/9781474473224.

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20

Thornham, Sue. Feminist Film Theory. Edinburgh University Press, 1999.

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21

Feminist Film Theory. Edinburgh University Press, 1999.

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22

Murray, Terri. Studying Feminist Film Theory. Auteur Publishing, 2018.

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23

Murray, Terri. Studying Feminist Film Theory. Auteur, 2007. http://dx.doi.org/10.5040/9781800850507.

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24

Murray, Terri. Studying Feminist Film Theory. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781911325802.001.0001.

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This book is aimed at helping media and film studies teachers introduce the basics of feminist film theory. No prior knowledge of feminist theory is required, the intended readers being university undergraduate teachers and students of film and media studies. Areas of emphasis include spectatorship, narrative, and ideology. Many illustrative case studies from popular cinema are used to offer students an opportunity to consider the connotations of visual and aural elements of film, narrative conflicts and oppositions, the implications of spectator 'positioning' and viewer identification, and an

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25

Studying Feminist Film Theory. Auteur Publishing, 2018.

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26

Ruti, Mari, and Todd McGowan. Feminist Film Theory and Pretty Woman. Bloomsbury Publishing Plc, 2016.

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27

Ruti, Mari. Feminist Film Theory and Pretty Woman. Bloomsbury Academic & Professional, 2016.

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28

Ruti, Mari. Feminist Film Theory and Pretty Woman. Bloomsbury Publishing Plc, 2016.

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29

Ruti, Mari. Feminist Film Theory and Pretty Woman. Bloomsbury Publishing Plc, 2016. http://dx.doi.org/10.5040/9781501319457.

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30

Thornham, Sue. Feminist Film Theory: A Classical Reader. New York University Press, 1999.

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31

Thornham, Sue. Feminist Film Theory: A Classical Reader. New York University Press, 1999.

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32

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

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33

And the mirror cracked: Feminist cinema and film theory. St. Martin's Press, 1998.

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34

Smelik, Anneke. And the Mirror Cracked: Feminist Cinema and Film Theory. Palgrave Macmillan, 2001.

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35

And the mirror cracked: Feminist cinema and film theory. Macmillan, 1998.

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36

Neroni, Hilary. Feminist Film Theory and Cléo from 5 to 7. Bloomsbury Publishing Inc, 2016. http://dx.doi.org/10.5040/9781501313721.

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37

And the Mirror Cracked: Feminist Cinema and Film Theory. Palgrave Macmillan, 1998.

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38

Feminist film theory and Cléo from 5 to 7. Bloomsbury Academic, an imprint of Bloomsbury Publishing Plc, 2016.

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39

Constable, Catherine. Thinking In Images: Film Theory, Feminist Philosophy and Marlene Dietrich. British Film Institute, 2006.

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40

Constable, Catherine. Thinking In Images: Film Theory, Feminist Philosophy and Marlene Dietrich. British Film Institute, 2006.

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41

Film, Feminism and Melanie Klein:: Weird Lullabies. Routledge, 2008.

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42

Hoorn, Jeanette, Nicholas Chare, and Audrey Yue. Re-Reading the Monstrous-Feminine: Art, Film, Feminism and Psychoanalysis. Taylor & Francis Group, 2019.

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43

Hoorn, Jeanette, Nicholas Chare, and Audrey Yue. Re-Reading the Monstrous-Feminine: Art, Film, Feminism and Psychoanalysis. Taylor & Francis Group, 2019.

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44

Tulloch, John, and Belinda Middleweek. Intimacy and Romance in Film Theory. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190244606.003.0004.

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Chapter 3 explores the critical frame of feminist Lacanian postmodernism, underpinning an understanding of real sex films like Romance as art-house cinema in mutual dialogue with pornography. It argues that this fusion and tension between genres misses significant disparities within art house, and neither offers a robust history nor acknowledges that the Romance narrative focuses on Marie’s negotiation of her own sexuality and embodiment via a picaresque series of female/male encounters in a changed modernity. In its detailed analysis of Romance, the chapter draws on Giddens’s concepts of plas

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45

Bolton, L. Film and Female Consciousness: Irigaray, Cinema and Thinking Women. imusti, 2011.

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46

Bolton, L. Film and Female Consciousness: Irigaray, Cinema and Thinking Women. Palgrave Macmillan, 2015.

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47

Bolton, L. Film and Female Consciousness: Irigaray, Cinema and Thinking Women. Palgrave Macmillan, 2011.

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48

Women of Vision: Histories in Feminist Film and Video. University of Minnesota Press, 2001.

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49

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

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50

Kaplan, E. Ann. Looking for the Other: Feminism, Film and the Imperial Gaze. Taylor & Francis Group, 2012.

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