Relevant bibliographies by topics / The Female Spectatorship

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

Academic literature on the topic 'The Female Spectatorship'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "The Female Spectatorship"

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White, Susan. "With regard to female spectatorship." Quarterly Review of Film and Video 12, no. 4 (1990): 93–105. http://dx.doi.org/10.1080/10509209109361365.

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Hansen, Miriam. "Pleasure, Ambivalence, Identification: Valentino and Female Spectatorship." Cinema Journal 25, no. 4 (1986): 6. http://dx.doi.org/10.2307/1225080.

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Traube, Elizabeth G., and Jackie Stacey. "Star Gazing: Hollywood Cinema and Female Spectatorship." Contemporary Sociology 24, no. 4 (1995): 404. http://dx.doi.org/10.2307/2077692.

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Hansen, Miriam. "Pleasure, Ambivalence, Identification: Valentino and Female Spectatorship." JCMS: Journal of Cinema and Media Studies 1000, no. 1 (2018): 6–32. http://dx.doi.org/10.1353/cj.2018.0088.

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Marsden, Jean I. "Female Spectatorship, Jeremy Collier and the Antitheatrical Debate." ELH 65, no. 4 (1998): 877–98. http://dx.doi.org/10.1353/elh.1998.0035.

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Stacey, J. "Textual obsessions: methodology, history and researching female spectatorship." Screen 34, no. 3 (1993): 260–74. http://dx.doi.org/10.1093/screen/34.3.260.

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Balides, Constance. "Cinema and Spectatorship. Judith MayneStar Gazing: Hollywood Cinema and Female Spectatorship. Jackie StaceyBabel and Babylon: Spectatorship in American Silent Film. Miriam Hansen." Signs: Journal of Women in Culture and Society 22, no. 1 (1996): 248–54. http://dx.doi.org/10.1086/495154.

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Swanson, Gillian. "Building the feminine: Feminist film theory and female spectatorship." Continuum 4, no. 2 (1991): 206–17. http://dx.doi.org/10.1080/10304319109388208.

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Swanson, Gillian. "BUILDING THE FEMININE: FEMINIST FILM THEORY AND FEMALE SPECTATORSHIP." Art History 13, no. 4 (1990): 585–90. http://dx.doi.org/10.1111/j.1467-8365.1990.tb00409.x.

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Farrell, Annemarie, Janet S. Fink, and Sarah Fields. "Women’s Sport Spectatorship: An Exploration of Men’s Influence." Journal of Sport Management 25, no. 3 (2011): 190–201. http://dx.doi.org/10.1123/jsm.25.3.190.

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While women are increasingly becoming vested fans of men’s football, baseball, hockey, and basketball, the perceived barriers—sociological, psychological and practical—to watching women’s sports still appear formidable for many female fans. The purpose of this study was to investigate the lack of female consumption of women’s sport through the voices and perspectives of female spectators of men’s sport. Based on interviews with female season ticket holders of men’s collegiate basketball who had not attended women’s basketball games for at least 5 years, the most robust theme to emerge was the
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Dissertations / Theses on the topic "The Female Spectatorship"

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Scott, Kathleen. "Cinema of exposure : female suffering and spectatorship ethics." Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/6312.

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This thesis explores the intersection of phenomenological, bio-political and ethical facets of spectatorship in relation to female suffering and gendered violence in contemporary film produced in Europe (mainly drawing on examples from France) and the United States. I argue that the visceral and affective cinematic embodiment of female pain plays a vital role in determining the political and ethical relationships of spectators to the images onscreen. Drawing on phenomenological theory, feminist ontology and ethics (primarily the work of Hélène Cixous), as well as the ethical philosophies of Gi
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George, Eva Marie. ""Hungry to see ourselves reflected" identity, representation and black female spectatorship /." College Park, Md. : University of Maryland, 2004. http://hdl.handle.net/1903/1940.

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Thesis (Ph. D.) -- University of Maryland, College Park, 2004.<br>Thesis research directed by: American Studies. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Sun, Xueling. "Wandering Women in Cinema, from Julie to Star: Female Subjectivity and Female Spectatorship in Feminine Road Films." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/cmc_theses/1545.

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This paper serves to explore how female subjects are represented in films featuring a woman on the road in ways that can create a female gaze, as an alternative to the male gaze. It looks for answers in four films from the 1970s to 2016, all made by female filmmakers, which are Je, Tu, Il, Elle (1974), Vagabond (Sans Toit Ni Loi) (1978), Wendy and Lucy (2008) and American Honey (2016). All four films share approaches that reject objectification in the depiction of females, but each is distinctive in their filmi strategies. Focusing on each work individually while attempting to make comparisons
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Jennings, Morgan J. ""There's a real hole here": Female Masochism and Spectatorship in Michael Haneke's La Pianiste." Scholar Commons, 2017. http://scholarcommons.usf.edu/etd/6869.

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In this project, I examine the relationship between female masochism, performance, and spectatorship in Michael Haneke’s film La Pianiste (2001). The film stages a relationship to sexuality that structures the subject’s excruciating negotiations with the other as always mediated by the law, the letter, or the body as instrument, which is allegorized by the protagonist’s occupation as a piano teacher. In my analysis, I identify the ways in which the film paradoxically offers a critique of mediation’s effect on the feminine position while encouraging viewers to confront the possibility that des
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Oh, Eunha. "Monster Mothers and the Confucian Ideal: Korean Horror Cinema in the Park Chung Hee Era." OpenSIUC, 2012. https://opensiuc.lib.siu.edu/dissertations/489.

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This study explores the patriarchal unconscious underlying the Korean horror genre through a critical feminist psychoanalytical reading of the family dynamics and female agency in three landmark texts, namely, The Public Cemetery under the Moon (Kwon, Chul-hwi, 1967), Mother's Han (Lee, Yusup, 1970) and Woman's Wail (Lee, Hyuksu, 1986). By closely examining these horror film texts using insights from feminist psychoanalytic approaches and situating the texts within historical events and popular culture in the Park Chung Hee era, this study produces an understanding of the cultural dilemmas of
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Steck, Rachel Kinsman 1974. "Laughing lesbians: Camp, spectatorship, and citizenship." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/10532.

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xi, 158 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.<br>This study, set in the context of the feminist sex wars, explores the performances of Holly Hughes, Carmelita Tropicana, and Split Britches throughout the 1980s and early 1990s. The purpose of this study is to better understand the implications of a specific style of lesbian comedic performance, found at the WOW Café and defined here as lesbian camp, throughout a contentious era in feminist politics. The motivating questions for this study are: How can
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Kao, Pei-yu, and 高珮瑜. "Filmic Transvestism and Female Spectatorship." Thesis, 2000. http://ndltd.ncl.edu.tw/handle/98254381806850899296.

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碩士<br>國立清華大學<br>外國語文學系<br>88<br>Ever since Laura Mulvey published in 1975 “Visual Pleasure and Narrative Cinema,” singling out the spectatorship in classical Hollywood cinema as mainly masculine, an increasing number of feminists have directed our attention to female spectatorship in the cinema. These critics offer insightful readings of various films in terms of spectatorship. However, their selection of film genre tends to be limited to certain categories with explicit feminist concerns. To remedy the situation, I propose to rethink female spectatorship, with concentration on the subject of
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"Spectatorship in the Hong Kong cinema: cop films and female police officers." 2007. http://library.cuhk.edu.hk/record=b5896542.

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Cheung, Hoi Yan.<br>Thesis submitted in: December 2006.<br>Thesis (M.Phil.)--Chinese University of Hong Kong, 2007.<br>Filmography: leaves 111-112.<br>Includes bibliographical references (leaves 106-111).<br>Abstracts in English and Chinese.<br>Chapter 1. --- Introduction --- p.1<br>Chapter 2. --- Spectatorship Theories --- p.26<br>Chapter 3. --- "Spectatorship, Local Cop Films and Hong Kong Police Force" --- p.39<br>Chapter 3.1 --- "Jackie Chan and his ""Police Story"" series" --- p.39<br>Chapter 3.2 --- New Police Story (2004) --- p.43<br>Chapter 3.3 --- PTU(2003) --- p.57<br>Chapter 3
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Colon, Brianne. "‘Put up de Cloaks!’: The Embodied Experience of Female Spectatorship in Seventeenth-Century Theatre." Thesis, 2011. http://spectrum.library.concordia.ca/7069/1/Colon_MA_S2011.pdf.

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This thesis delves into the social and material experience of female spectatorship in seventeenth-century theatre. Throughout the seventeenth-century, a woman compromised her sexuality each time she attended a performance through her alignment with the prostitutes operating in the audience and the bawdy representations of herself onstage. By positioning herself alongside other female spectators in the audience and making them privy to her physical and emotional needs, she was able to minimize the threat the theatre posed to her sexual modesty and obtain a degree of privacy within the multipl
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Books on the topic "The Female Spectatorship"

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Star gazing: Hollywood cinema and female spectatorship. Routledge, 1994.

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Stacey, Jackie. Star-gazing: Hollywood cinema and female spectatorship. Routledge, 1993.

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Stewart, Fiona. An Inquiry into female spectatorship and its related concepts. Chelsea College of Art and Design, 1998.

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Stacey, Jackie. Star gazing: Hollywood cinema and female spectatorship in 1940s and 1950s Britain. University of Birmingham, 1992.

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Stacey, Jackie. Star Gazing: Hollywood Cinema and Female Spectatorship. Taylor & Francis Group, 2015.

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Potter, Susan. Queer Timing. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042461.001.0001.

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This book is a counter-history of the emergence of lesbian sexuality in early cinema. Drawing on the critical insights of queer theory and the history of sexuality, it challenges approaches to lesbian representation, initially by reframing the emergence of lesbian figures in cinema in the late 1920s and early 1930s as only the most visible and belated signs of an array of strategies of sexuality. The emergence of lesbian representation and spectatorship in early cinema is not a linear progression and consolidation but rather arises across multiple sites in dispersed forms that are modern and b
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Balan, Canan. Imagining Women at the Movies. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039683.003.0005.

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This chapter examines early film culture in Istanbul by focusing on how Turkish male writers constructed cinema-going Turkish women in early twentieth-century and postwar Istanbul. The goal is to analyze gendered concerns about spectatorship emerging in the patriarchal imagination of that time. In order to understand the reception of early cinema in Turkey as well as the cultural status of Turkish cinema among the Ottoman/Turkish intelligentsia and the gender politics surrounding it, the chapter looks at novels, poems, and newspaper reviews. The discussion begins with an overview of film marke
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Farfan, Penny. “I think very few people are completely normal really, deep down in their private lives”. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190679699.003.0005.

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This chapter focuses on Noël Coward’s 1930 comedy Private Lives to illustrate how queer modernist performance might pass as light entertainment in the theatrical mainstream. Written shortly after Coward read Virginia Woolf’s Orlando, Private Lives engages with classical and early twentieth-century ideas about androgyny and in doing so subverts interlinked sexual and aesthetic norms. The play’s main characters, Amanda and Elyot, are ambiguously gendered, yet together form a heterosexual couple that recalls the separated halves of the lost androgyne or third sex of Aristophanes’s myth of love in
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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 t
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Book chapters on the topic "The Female Spectatorship"

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Garrett, Roberta. "Romantic Comedy and Female Spectatorship." In Postmodern Chick Flicks. Palgrave Macmillan UK, 2007. http://dx.doi.org/10.1057/9780230801523_4.

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Bolton, Lucy. "Architects of Beauty and the Crypts of Our Bodies: Implications for Filmmaking and Spectatorship." In Film and Female Consciousness. Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230308695_7.

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Doane, Mary Ann. "Female. Spectatorship and Machines of Projection: Caught and Rebecca." In The Desire to Desire. Palgrave Macmillan UK, 1987. http://dx.doi.org/10.1007/978-1-349-19145-1_6.

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Duncan, Carol B. "From Hattie to Halle: Black Female Bodies and Spectatorship as Ritual in Hollywood Cinema." In Black Religion and Aesthetics. Palgrave Macmillan US, 2009. http://dx.doi.org/10.1057/9780230622944_5.

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Fazekas, Angie, and Dan Vena. "‘What Were We—Idiots?’: Re-evaluating Female Spectatorship and the New Horror Heroine with Catherine Hardwicke’s Twilight." In Final Girls, Feminism and Popular Culture. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-31523-8_12.

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"Black Female Spectatorship." In Dark Designs and Visual Culture. Duke University Press, 2004. http://dx.doi.org/10.1215/9780822386353-054.

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"Black Female Spectatorship." In Dark Designs and Visual Culture. Duke University Press, 2004. http://dx.doi.org/10.2307/j.ctv113193j.57.

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"53 Black Female Spectatorship." In Dark Designs and Visual Culture. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822386353-055.

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"1. Female Spectatorship, Jeremy Collier, and the Antitheatrical Debate." In Fatal Desire. Cornell University Press, 2019. http://dx.doi.org/10.7591/9781501728525-003.

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Rogers, Anna Backman. "‘Not Because My Heart is Gone; Simply the Other Side’: Francesca Woodman’s Relational and Ephemeral Subjectivity at the Limit of the Image." In Female Agency and Documentary Strategies. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474419475.003.0008.

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The work of Francesca Woodman has commonly been read in light of her depression and tragic suicide at the age of just twentytwo as the figuration of (or rehearsal for) an act of disappearance. This essay aligns itself with the scholarship of Claire Raymond (2010) who argues through Kant’s notion of the sublime that, in actual fact, Woodman stages a precise dissection of what it means to be both the subject and object of her own gaze. Drawing on feminist theories of spectatorship and photography, this chapter demonstrates how Woodman engages with visual tropes in order to ‘image’ the fragile and liminal moment of a young girl becoming-woman. As such, the author argues, that Woodman addresses directly the manifold ways in which gender norms are brought to bear on the female body through the mechanics of the gaze.
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