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Journal articles on the topic 'The Female Spectatorship'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Hammergren, Lena. "Embodied Spectatorship? Interpreting dance reviews around 1900." Nordic Theatre Studies 29, no. 1 (2017): 8. http://dx.doi.org/10.7146/nts.v29i1.102965.

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The article intertwines historiographical analyses with research methods focusing on embodied responses to performances. It argues that dance reviews can be interpreted from a sensorial viewpoint, analyzing ways in which language articulates so-called kinaesthetic, or affective responses. The argument is based on theories of agency and embodiment (Noland). Swedish reviews from performances by Isadora Duncan (Stockholm, 1906), Artemis Colonna (Stockholm, 1903), and Loïe Fuller (Gothenburg, 1907) are investigated, and it is concluded that these kinaesthetic sensations are visible mainly in the

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12

Hammergren, Lena. "Embodied Spectatorship? Interpreting dance reviews around 1900." Nordic Theatre Studies 29, no. 1 (2018): 8. http://dx.doi.org/10.7146/nts.v29i1.103305.

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The article intertwines historiographical analyses with research methods focusing on embodied responses to performances. It argues that dance reviews can be interpreted from a sensorial viewpoint, analyzing ways in which language articulates so-called kinaesthetic, or affective responses. The argument is based on theories of agency and embodiment (Noland). Swedish reviews from performances by Isadora Duncan (Stockholm, 1906), Artemis Colonna (Stockholm, 1903), and Loïe Fuller (Gothenburg, 1907) are investigated, and it is concluded that these kinaesthetic sensations are visible mainly in the l

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13

Liu, Jui-Ch'i. "Female Spectatorship and the Masquerade: Cindy Sherman's Untitled Film Stills." History of Photography 34, no. 1 (2010): 79–89. http://dx.doi.org/10.1080/03087290903361399.

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14

Badir, Patricia. "Playing Solitaire: Spectatorship and Representation in Canadian Women's Monodrama." Theatre Research in Canada 13, no. 1 (1992): 120–33. http://dx.doi.org/10.3138/tric.13.1.120.

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This article analyses the performer/spectator dynamic present in the text and performance of some Canadian one-woman plays, and considers the re-positioning of the female as subject and the possible construction of an ideal female spectator. The article looks at both English- and French-language monologues in an attempt to understand the effects of cultural difference on performer/spectator relationships, focusing on Jovette Marchessault's Les Vaches de nuit, Marie Savard's Bien A moi, Sharon Pollack's Getting it Straight, Pamela Boyd's Inside Out, Beverly Simon's Preparing, and Janet Feindel'

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15

Thaggert, Miriam. "Divided Images: Black Female Spectatorship and John Stahl's Imitation of Life." African American Review 32, no. 3 (1998): 481. http://dx.doi.org/10.2307/3042248.

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16

Hollinger, Karen. "Theorizing Mainstream Female Spectatorship: The Case of the Popular Lesbian Film." Cinema Journal 37, no. 2 (1998): 3. http://dx.doi.org/10.2307/1225639.

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17

Ogunfolabi. "Female Body, Discipline, and Emerging Male Spectatorship in Yoruba Video Film." Global South 7, no. 1 (2013): 79. http://dx.doi.org/10.2979/globalsouth.7.1.79.

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18

Fee, Annie. "Les Midinettes Révolutionnaires." Feminist Media Histories 3, no. 4 (2017): 162–94. http://dx.doi.org/10.1525/fmh.2017.3.4.162.

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In their quest for official and cultural recognition, French First Wave critics such as Louis Delluc discursively positioned the working-class female cinemagoer as emblematic of the sorry state of unsophisticated French film audiences. From this discourse came the stereotype of the starry-eyed midinette, which is still used by French film critics to describe lowbrow film taste and an overly emotional mode of spectatorship. This essay attempts to reconstruct the social practice of cinemagoing among the midinettes of 1920s working-class Paris by focusing on the female fans of the serial Les deux

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19

Antić, Marija. "Feminist Iranian cinema: The counter-cinema of Abbas Kiarostami and female spectatorship." Genero, no. 20 (2016): 31–51. http://dx.doi.org/10.5937/genero1620031a.

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20

Thomas, Sarah. "Primed for Suffering: Gender, Subjectivity, and Spectatorship in Spanish Crisis Cinema." boundary 2 48, no. 3 (2021): 215–51. http://dx.doi.org/10.1215/01903659-9155817.

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Examining three fiction films (Techo y comida, Ayer no termina nunca, and Magical Girl), this essay illuminates the traces of the economic crisis in recent Spanish cinema, focusing on how it is inscribed on female-gendered bodies and subjectivities. In exploring how female pain accumulates across the boundaries of genre in these disparate films, it asks what kind of gendered subjects these films construct, and what work women's suffering is asked to perform, both for the benefit of the film's plot and the spectator's engagement. It shows how, even in cinema sympathetic to those devastated by c

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21

Oh, Chuyun. "Queering spectatorship in K-pop: The androgynous male dancing body and western female fandom." Journal of Fandom Studies 3, no. 1 (2015): 59–78. http://dx.doi.org/10.1386/jfs.3.1.59_1.

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22

Baumgartner, K. "Constructing Paris: Flanerie, Female Spectatorship, and the Discourses of Fashion in Franzosische Miscellen (1803)." Monatshefte 100, no. 3 (2008): 351–68. http://dx.doi.org/10.1353/mon.0.0044.

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23

Larrea, Carlota. "¿De que´ va la pelicula? Film and Female Spectatorship in Four Women's Short Stories." Journal of Iberian and Latin American Studies 9, no. 2 (2003): 139–48. http://dx.doi.org/10.1080/1470184032000171777.

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24

Yargic, MP, and GB Kurklu. "Are adolescent sports fans more physically active than the sports indifferent? A self-reported questionnaire study." Perspectives in Public Health 140, no. 2 (2019): 117–23. http://dx.doi.org/10.1177/1757913919868247.

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Aims: Physical inactivity in adolescents is a global health problem. Eighty percent of adolescents worldwide do not meet the minimum recommended physical activity. Although many adolescents define themselves as a ‘sports fan’, the relationships between sports spectatorship and sport participation in adolescents have not yet been investigated. Here, we determine whether there is a relationship between the levels of sports spectatorship and physical activity among adolescents. Methods: The Physical Activity Questionnaire for Adolescents (PAQ-A), Sport Spectator Identification Scale (SSIS) and th

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25

Lappas, Catherine. "“Seeing is believing, but touching is the truth”: Female spectatorship and sexuality inthe company of wolves." Women's Studies 25, no. 2 (1996): 115–35. http://dx.doi.org/10.1080/00497878.1996.9979099.

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26

Vashisht, Jivitesh. "‘lips move, uttering inaudibly’: The Female Voice in Samuel Beckett's …but the clouds …" Journal of Beckett Studies 29, no. 2 (2020): 233–48. http://dx.doi.org/10.3366/jobs.2020.0313.

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While the dialogue between Samuel Beckett's …but the clouds… and W. B. Yeats's ‘The Tower’ has been thoroughly examined, much less attention has been paid to the female voice that inaudibly recites the poetic fragment in what constitutes the teleplay's chief intertextual gesture towards Yeats's poem. Aligning this oversight with the more pervasive disregard within Beckett Studies to the gendered specificity of Beckett's voices, this essay elaborates the absent presence of the female voice in the teleplay – crystallised in the image of W's silently moving lips – from the interlocking perspectiv

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27

deCordova, Richard. "Richard deCordova Responds to Miriam Hansen's "Pleasure, Ambivalence, Identification: Valentino and Female Spectatorship" ("Cinema Journal," Summer 1986)." Cinema Journal 26, no. 3 (1987): 55. http://dx.doi.org/10.2307/1224908.

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28

Studlar, Gaylyn. "Gaylyn Studlar Responds to Miriam Hansen's "Pleasure, Ambivalence, Identification: Valentino and Female Spectatorship" ("Cinema Journal," Summer 1986)." Cinema Journal 26, no. 2 (1987): 51. http://dx.doi.org/10.2307/1225339.

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29

Sherwin, Miranda. "Deconstructing the Male: Masochism, Female Spectatorship, and the Femme Fatale inFatal Attraction, Body of Evidence, andBasic Instinct." Journal of Popular Film and Television 35, no. 4 (2008): 174–82. http://dx.doi.org/10.3200/jpft.35.4.174-182.

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30

Duncan, Cynthia. "Looking like a Woman: Some Reflections on the Hispanic Soap Opera and the Pleasures of Female Spectatorship." Chasqui 24, no. 2 (1995): 82. http://dx.doi.org/10.2307/29741215.

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31

Dirks, Danielle, Caroline Heldman, and Emma Zack. "‘She’s White and She’s Hot, So She Can’t Be Guilty’: Female Criminality, Penal Spectatorship, and White Protectionism." Contemporary Justice Review 18, no. 2 (2015): 160–77. http://dx.doi.org/10.1080/10282580.2015.1025626.

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32

Crone, Manni. "It's a man's world: carnal spectatorship and dissonant masculinities in Islamic State videos." International Affairs 96, no. 3 (2020): 573–91. http://dx.doi.org/10.1093/ia/iiaa047.

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Abstract Islamic State videos have often been associated with savage violence and beheadings. An in-depth scrutiny however reveals another striking feature: that female bodies are absent, blurred or mute. Examining a few Islamic State videos in depth, the article suggests that the invisibility of women in tandem with the ostentatious visibility of male bodies enable gendered and embodied spectators to indulge in homoerotic as well as heterosexual imaginaries. In contrast to studies on visual security and online radicalization which assert that images affect an audience, this article focuses on

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33

Meier, Henk Erik, Bernd Strauss, and Dennis Riedl. "Feminization of sport audiences and fans? Evidence from the German men’s national soccer team." International Review for the Sociology of Sport 52, no. 6 (2015): 712–33. http://dx.doi.org/10.1177/1012690215612457.

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Sport and sport consumption represent highly gendered spheres. Accordingly, sport spectatorship and fandom have been predominantly male. Recently, however, a trend towards a ‘feminization of sport crowds’ within European soccer has been detected. The piece of research presented here focuses on the concept’s quantitative dimension and aims to provide empirical evidence on long-term trends in female sport consumption and team identification studying trends for the German national soccer team over a 12-year period. The results suggest that the feminization of soccer reflects not only inauthentic

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34

Neil Archer. "Sex, the City and the Cinematic: The Possibilities of Female Spectatorship in Claire Denis's Vendredi soir." French Forum 33, no. 1-2 (2008): 245–60. http://dx.doi.org/10.1353/frf.0.0034.

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35

Snelson, Tim. "‘From grade B thrillers to deluxe chillers’: prestige horror, female audiences, and allegories of spectatorship inThe Spiral Staircase(1946)." New Review of Film and Television Studies 7, no. 2 (2009): 173–88. http://dx.doi.org/10.1080/17400300902816952.

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36

Duncan, Sophie. "Personating the Ripper: Civilian Performance and the Melodramatic Mode." Nineteenth Century Theatre and Film 46, no. 2 (2019): 190–209. http://dx.doi.org/10.1177/1748372719861610.

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This article illuminates how the Ripper murders and their 1888 coverage re-theatricalised not only London, but many provincial towns. It looks beyond canonical theatrical contexts for, and responses to the Ripper, exploring extra-theatrical, popular performance ‘scenarios’ by civilian men, outside professional sites of theatricalised or medicalised spectatorship. It examines how civilian men personated key figures in the Ripper ‘scenario’: the plain-clothes detective, the Ripper's female victims, and the Ripper himself. These civilian performances illuminate our understandings of fin-de-siècle

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37

Meier, Henk Erik, and Marcel Leinwather. "Women as ‘Armchair Audience’? Evidence from German National Team Football." Sociology of Sport Journal 29, no. 3 (2012): 365–84. http://dx.doi.org/10.1123/ssj.29.3.365.

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Research conducted here aims to contribute to the ongoing debate about gender differences in sport spectatorship. While media coverage of sports represents a “gendered experience”, recent research has questioned the explanatory value of anatomical sex for understanding differences in sport consumption. Analyses of TV ratings for German national team football presented here are set out to test the idea that women are more likely to constitute an “armchair” or “fair weather” audience. Even though watching national team football is clearly a male domain and the men’s team is much more popular, fe

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38

Frymus, Agata. "Researching Black women and film history." Alphaville: Journal of Film and Screen Media, no. 20 (January 27, 2021): 228–36. http://dx.doi.org/10.33178/alpha.20.18.

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My project (Horizon 2020, 2018–20) traces Black female moviegoing in Harlem during the silent film era. The main challenge in uncovering the women’s stories is that historical paradigm has always prioritised the voices of the white, middle-class elite. In the field of Black film history, criticism expressed by male journalists—such as Lester A. Walton of New York Age—has understandably received the most attention (Everett; Field, Uplift). Black, working-class women are notoriously missing from the archive. How do we navigate historical records, with their own limits and absences? This paper ar

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39

Abdel Karim, Maria. "Queer representation in Arab and Middle Eastern Films." Alphaville: Journal of Film and Screen Media, no. 20 (January 27, 2021): 71–86. http://dx.doi.org/10.33178/alpha.20.06.

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Queer representations have been present since the 1930s in Arab and Middle Eastern cinema, albeit always in coded forms. However, the idea of homosexuality or queerness in the Middle East is still not tolerated due to religious, political, social and cultural reasons. Middle Eastern filmmakers who represent homosexual relations in their films could face consequences ranging from censorship to punishment by the State or religious extremists. This article explores the representation of lesbians in three transnational Middle Eastern women’s films: Caramel (Sukkar banat, 2007) by Nadine Labaki, se

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40

Chang-Gyu Ju. "Park Ki-chae's Authorship in the Adaptation of Heartlessness(Mu-jeong): The Formation of Woman's Film and the Emergent Female Reader-spectatorship in Colonial Chosun." Film Studies ll, no. 48 (2011): 393–443. http://dx.doi.org/10.17947/kfa..48.201106.013.

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41

Mihaylova, Stefka. "Whose Performance Is It Anyway? Performed Criticism as Feminist Strategy." New Theatre Quarterly 25, no. 3 (2009): 255–73. http://dx.doi.org/10.1017/s0266464x09000438.

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By the 1990s, the feminist contention that gender norms inform the production and reception of art had become widely accepted in academia. Many theatre journalists, however, continued to insist on the possibility of writing about performance from an apolitical, gender-neutral position. This article examines the gendered history of this insistence from the early 1700s to the present, its effects on the production and reception of plays by women, and its implications for theatre scholarship. Focusing on Carolee Schneemann's critique of a masculine bias in art criticism in her performance Interio

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42

Lehmann, Caitlyn. "Libertine Intrigues: Opera Girls in Eighteenth-Century British Discourse." Dance Research 37, no. 2 (2019): 239–56. http://dx.doi.org/10.3366/drs.2019.0275.

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Throughout the eighteenth century, scandalous literature perpetuated a strongly male-gendered image of dance spectatorship through its preoccupation with the moral and sexual status of female ballet dancers. The frequency with which authors of scandal sheets, novels, satire and political criticism alluded to liaisons involving elite men and dancers was, in part, a reflection of the period's broader fascination with the status of women on the stage. However, this active preoccupation with the sexuality of dancers was also allied to an interrogation of aristocratic and moral codes in Britain and

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43

"Star gazing: Hollywood cinema and female spectatorship." Choice Reviews Online 32, no. 05 (1995): 32–2636. http://dx.doi.org/10.5860/choice.32-2636.

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44

Griffin, Andrew. "Ram Alley and Female Spectatorship." Early Theatre 9, no. 2 (2006). http://dx.doi.org/10.12745/et.9.2.731.

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45

Moran, Claire. "Minor Intimacies and the Art of Berthe Morisot: Impressionism, Female Friendship and Spectatorship." Dix-Neuf, July 14, 2021, 1–21. http://dx.doi.org/10.1080/14787318.2021.1926875.

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46

Xu, Kaibin, and Yan Tan. "The Chinese female spectatorship: a study of the network community of the “boys’ love” movie “Call Me by Your Name”." Feminist Media Studies, April 12, 2019, 1–16. http://dx.doi.org/10.1080/14680777.2019.1597752.

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47

Stein, Louisa Ellen. ""Emotions-Only" versus "Special People": Genre in fan discourse." Transformative Works and Cultures 1 (August 2, 2008). http://dx.doi.org/10.3983/twc.2008.043.

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This essay looks at genre as a complex set of discursive threads running unevenly through production, TV text, and fan reception. Through a case study of the reception of fan favorite Roswell, this essay interrogates the role of genre in spectatorship. In its mixing of teen and science fiction elements, Roswell trod upon contested generic spaces, eliciting strong reaction from its viewers. Connections between genre and gender came to the fore, as producer commentary linked science fiction with male audiences and teen romance with female audiences. Fans responded with analyses that greatly comp

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48

Myhill, Nova. "'Wanton Females of All Sorts': Spectatorship in The Antipodes." Early Theatre 16, no. 2 (2014). http://dx.doi.org/10.12745/et.16.2.6.

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49

Culver, Carody, and Amy Vuleta. "Suspicion." M/C Journal 15, no. 1 (2012). http://dx.doi.org/10.5204/mcj.460.

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The “Suspicion” issue of M/C Journal explores suspicion as both critical approach and cultural concept, inviting us to engage with its interpretive potential in a world where mistrust has become the norm. Contemporary Western culture is characterised by a climate of increased border security and surveillance, especially since 9/11. Judith Butler identifies an increase in paranoia and censorship associated with these factors, which has greatly affected freedom of speech, politics, the press, and what constitutes the public sphere. These shifts have had considerable impact on how we relate to wo

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50

Bolton, Michael C. "Cumming to an End." M/C Journal 7, no. 4 (2004). http://dx.doi.org/10.5204/mcj.2398.

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In finding patriarchal oppression in linear narratives, early Second Wave feminist writers like Hélène Cixous, Julia Kristeva, and Luce Irigaray opposed biologically based Freudian theories that claimed the feminine was grounded in a certain essence of male-ness and female-ness. Cixous’ advocacy of écriture féminine includes her critique of traditional narrative, which she claims is structured by a sexual opposition that “has always worked for man’s profit to the point of reducing writing . . . to his laws” (883). Specifically in terms of cinema, the focus of this paper, Laura Mulvey finds sim

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