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Books on the topic 'Mulvey, Laura'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 July 2024

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1

Chaudhuri, Shohini. Feminist film theorists: Laura Mulvey, Kaja Silverman, Teresa de Lauretis, Barbara Creed. London: Routledge, 2006.

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2

Harvard College Library. Dept. of Printing and Graphic Arts., ed. Why artists' books?: Siri Beckman, Meryl Brater, Brian D. Cohen, Deborah Davidson, Laura Davidson, Roberta Delaney, Jean Evans, Becky Hunt, Joyce McDaniel, Peter Maden, Maria Muller, Stephanie Stigliano. Cambridge, MA: Department of Printing and Graphic Arts, 1993.

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3

Laura Mulvey, Visual Pleasure and Narrative Cinema. GRIN Verlag GmbH, 2006.

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4

Laura Mulvey Visual Pleasure and Narrative Cinema. Grin Verlag, 2008.

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5

Rachel Rose : Laura Mulvey, Visual Pleasure and Narrative Cinema: 1975. Verlag der Buchhandlung Walther Konig, 2016.

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6

Fuke, Oliver. Films of Laura Mulvey and Peter Wollen: Scripts, Working Documents, Interpretation. Bloomsbury Publishing Plc, 2022.

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7

Fuke, Oliver. Films of Laura Mulvey and Peter Wollen: Scripts, Working Documents, Interpretation. Goldsmiths, University London, 2021.

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8

Fuke, Oliver. Films of Laura Mulvey and Peter Wollen: Scripts, Working Documents, Interpretation. Bloomsbury Publishing Plc, 2022.

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9

Chaudhuri, Shohini. Feminist Film Theorists: Laura Mulvey, Kaja Silverman, Teresa de Lauretis, Barbara Creed. Taylor & Francis Group, 2006.

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10

Chaudhuri, Shohini. Feminist Film Theorists: Laura Mulvey, Kaja Silverman, Teresa de Lauretis, Barbara Creed. Taylor & Francis Group, 2006.

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11

Chaudhuri, Shohini. Feminist Film Theorists: Laura Mulvey, Kaja Silverman, Teresa de Lauretis, Barbara Creed. Taylor & Francis Group, 2006.

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12

Chaudhuri, Shohini. Feminist Film Theorists: Laura Mulvey, Kaja Silverman, Teresa de Lauretis, Barbara Creed. Taylor & Francis Group, 2006.

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13

Feminist film theorists: Laura Mulvey, Kaja Silverman, Teresa de Lauretis, Barbara Creed. London: Routledge, 2006.

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14

Lamm, Kimberly. Addressing the other woman. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526121264.001.0001.

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This book analyses how three artists – Adrian Piper, Nancy Spero, and Mary Kelly – worked with the visual dimensions of language in the 1960s and 1970s. These artists used text and images of writing to challenge female stereotypes, addressing viewers and asking them to participate in the project of imagining women beyond familiar words and images of subordination. The book explores this dimension of their work through the concept of ‘the other woman,’ a utopian wish to reach women and correspond with them across similarities and differences. To make the artwork’s aspirations more concrete, it places the artists in correspondence with three writers – Angela Davis, Valerie Solanas, and Laura Mulvey – who also addressed the limited range of images through which women are allowed to become visible.

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15

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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16

Hanaway-Oakley, Cleo. Reciprocal Seeing and Embodied Subjectivity. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198768913.003.0002.

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This chapter considers the previous ways in which literary scholars have used film theory in their interpretations of Ulysses. Joyce scholars have tended to favour the psychoanalytic film theories of Christian Metz and Laura Mulvey, employing them in their analyses of the relationship between Gerty and Bloom in the ‘Nausicaa’ episode of Ulysses. Phenomenology is offered as an alternative approach, as a way of seeing beyond the seemingly rigid binaries of seer/seen, subject/object, absorptive/theatrical, and personal/impersonal. Starting from Merleau-Ponty’s ‘The Film and the New Psychology’ (1945), then moving on to consider the ideas of contemporary film phenomenologists (such as Vivian Sobchack, Spencer Shaw, and Jennifer Barker), the second half of the chapter outlines the insights provided by phenomenology, focusing on the reciprocity of cinematic perception and the embodied nature of film spectatorship.

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17

Moosbrugger, Julian. Die Filmtheoretische Kritik Laura Mulveys Im Zusammenhang Mit Videospielen. GRIN Verlag GmbH, 2017.

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18

Feminist Film Theorists. Routledge, 2006.

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19

Behn, Beatrice. Here's Looking At You Kid! - Zu Laura Mulveys 'Visuelle Lust und narratives Kino'. GRIN Verlag GmbH, 2008.

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20

As bambas do samba: Mulher e poder na roda. 2nd ed. Salvador, Brazil: EDUFBA, 2019.

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21

Santanna, Marilda. As Bambas Do Samba: Mulher e Poder Na Roda. Universidade Federal da Bahia, Centro Editorial e Didactico, 2016.

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