Bibliografías temáticas / Iris Films/Iris Feminist Collective

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Literatura académica sobre el tema "Iris Films/Iris Feminist Collective"

Autor: Grafiati
Publicado: 27 de julio de 2024
Última modificación: 31 de julio de 2025

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Artículos de revistas sobre el tema "Iris Films/Iris Feminist Collective"

1

Landberg, S. Topiary. "In the Best Interests of the Children." Feminist Media Histories 11, no. 2 (2025): 144–65. https://doi.org/10.1525/fmh.2025.11.2.144.

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This essay concerns the documentary In the Best Interests of the Children (1977) by the feminist collective Iris Films about lesbian mothers fighting to retain custody of their children in the 1970s. Comparing the original concept of the film, as a tool for education and social change, to its recent reemergence as a “forgotten” chapter of LGBTQ+ history, the article demonstrates the fluidity of useful film across time. Working with the personal papers of Frances Reid/Iris Films, and interviews with Reid and her “stepdaughter” Julie Stevens, this article provides a personal, contemporary queer
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2

González, María Martínez. "Feminist Praxis Challenges the Identity Question: Toward New Collective Identity Metaphors." Hypatia 23, no. 3 (2008): 22–38. http://dx.doi.org/10.1111/j.1527-2001.2008.tb01203.x.

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The analysis of difference and identity questions brought Iris Marion Young to develop a metaphor of collective identity, the city, which included the diversity that characterizes all human groups. This article honors Iris Marion Young by challenging the question of identity in contemporary feminism and social sciences. María Martínez González argues that we need new identity and collective identity metaphors in order to understand the complexity of contemporary feminist praxis.
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3

Gardiner, Rita A. "Hannah and her sisters: Theorizing gender and leadership through the lens of feminist phenomenology." Leadership 14, no. 3 (2017): 291–306. http://dx.doi.org/10.1177/1742715017729940.

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This article explores how feminist phenomenology can add conceptual richness to gender and leadership theorizing. Although some leadership scholars engage with phenomenological and existential inquiry, feminist phenomenology receives far less attention. By addressing this critical gap in the scholarship, this article illustrates how feminist phenomenology can enrich gender and leadership scholarship. Specifically, by engaging with the work of four women existential phenomenologists – Hannah Arendt, Simone de Beauvoir, Iris Marion Young, and Sara Ahmed – the rich diversity of phenomenological i
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4

Vögele, Hannah. "Responsibility for Vulnerability." Philosophy Today 64, no. 3 (2020): 577–97. http://dx.doi.org/10.5840/philtoday2020917349.

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Care (work) is in crisis. In fact, within our current system, social vulnerabilities of differential kinds are pushed to the fringes of society, while self-responsibility prevails. Yet recently, vulnerability has become a fashionable concept in (feminist) theory. It owes this popularity not least to Judith Butler’s work. This paper analyses the political potential of her conceptualization. More precisely, it argues for the need to assume political responsibility for vulnerability. This is not a connection that Butler makes explicitly. Instead, and contrary to her previous ambivalence to ethics
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5

Čičigoj, Katja. "Unthinkable concepts, invisible genealogies: rereading the new materialist rereading of The Second Sex." Feminist Theory 21, no. 4 (2020): 483–500. http://dx.doi.org/10.1177/1464700120967316.

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In the essay ‘Sexual Differing’ from their book New Materialism: Interviews and Cartographies, Rick Dolphijn and Iris van der Tuin develop their new materialist take on sexual difference through their rereading of Simone de Beauvoir’s The Second Sex. I propose to read this essay as deploying the ‘analytical tool’ of ‘jumping generations’ articulated in the homonymous paper by van der Tuin as signature of the ‘new materialist’ ‘third wave’ of feminist theory. By pointing to the immediate textual context of the passages from The Second Sex quoted in ‘Sexual Differing’, to the philosophical under
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6

Marano, Virginia. "Being (not) at home: Exiled women artists in postwar New York." Image & Text, no. 37 (November 3, 2023): 1–25. http://dx.doi.org/10.17159/2617-3255/2023/n37a14.

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In postwar art, the question of exile is the question of home. House defines a space as a locative concept. Home represents a place with a symbolic value of belonging and refers to objects, people, and ideas. Home does not designate a fixed state but rather a relational and transformative site in which individual and collective acts of remembering are embedded. In this article, the author explores the aesthetics of exile in the artistic production of exiled women artists in postwar New York, most notably Ruth Vollmer, Louise Nevelson, and Eva Hesse, who have often been excluded from the discou
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7

Staab, Laura. "Hélène Cixous, Laida Lertxundi, and the Fruits of the Feminine." Philosophies 7, no. 6 (2022): 145. http://dx.doi.org/10.3390/philosophies7060145.

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In the fields of experimental writing and experimental filmmaking, respectively, Hélène Cixous and Laida Lertxundi gather images of fruits: apples, oranges and lemons. Although Cixous and Lertxundi are well-known for seeking something of the feminine for writing and filmmaking, in these texts and these films, fruit is not equivalent to feminine anatomy and the juiciness of neither apple, nor orange, nor lemon is mere metaphor for feminine jouissance. While Cixous and Lertxundi recognise in art, literature and philosophy an historical relation of women to nature, an essentialist equation of one
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8

Gorman-Murray, Andrew, and Robyn Dowling. "Home." M/C Journal 10, no. 4 (2007). http://dx.doi.org/10.5204/mcj.2679.

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 Previously limited and somewhat neglected as a focus of academic scrutiny, interest in home and domesticity is now growing apace across the humanities and social sciences (Mallett; Blunt, “Cultural Geographies of Home”; Blunt and Dowling). This is evidenced in the recent publication of a range of books on home from various disciplines (Chapman and Hockey; Cieraad; Miller; Chapman; Pink; Blunt and Dowling), the advent in 2004 of a new journal, Home Cultures, focused specifically on the subject of home and domesticity, as well as similar recent special issues in several othe
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Libros sobre el tema "Iris Films/Iris Feminist Collective"

1

Gracey, James. The Company of Wolves. Liverpool University Press, 2017. http://dx.doi.org/10.3828/liverpool/9781911325314.001.0001.

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Co-written by Irish filmmaker Neil Jordan and British novelist Angela Carter, and based on several short stories from Carter's collection The Bloody Chamber, The Company of Wolves (1984) is a provocative reinvention of the fairy tale of Little Red Riding Hood. Unraveling a feverish metaphor for the blossoming of a young girl's sexuality and her subsequent loss of innocence, the film entwines symbolism and metaphor with striking visuals and grisly effects. Released in the early 1980s, a time which produced several classic werewolf films (including An American Werewolf in London and The Howling)
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2

McLaren, Margaret A. Women's Activism, Feminism, and Social Justice. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190947705.001.0001.

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Informed by practices of women’s activism in India, this book proposes a feminist social justice framework to address the wide range of issues women face globally, including economic exploitation; sexist oppression; racial, ethnic, and caste oppression; and cultural imperialism. The feminist social justice framework provides an alternative to mainstream philosophical frameworks that analyze and promote gender justice globally: universal human rights, economic projects such as microfinance, and cosmopolitanism. These frameworks share a commitment to individualism and abstract universalism that
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Capítulos de libros sobre el tema "Iris Films/Iris Feminist Collective"

1

Missero, Dalila. "Conclusion – Feminist Film Culture(s): Collectivities, Archives and Futures." In Women, Feminism and Italian Cinema. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474463249.003.0014.

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Drawing from Iris Marion Young notion of “pragmatic theorising”, this conclusion addresses issues of archival accessibility and historiography, from the point of view of women’s fragmented sources. It argues that a materialist and sensory approach to the archive leads to a notion of collective subjectivity, which goes beyond the ideas of “absence” and invisibility that inform most of the historiography about women in the cinema.
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