By Karen Hollinger
Feminist movie reviews is a readable, but finished textbook for introductory periods in feminist movie conception and feedback.
Karen Hollinger offers an obtainable evaluation of women’s illustration and involvement in movie, complemented via analyses of key texts that illustrate significant issues within the box. Key parts include:
•a short heritage of the improvement of feminist movie idea
•the theorization of the male gaze and the feminine spectator
•women in style motion pictures and literary diversifications
•the girl biopic
•feminism and avant-garde and documentary movie
•women as auteurs
•women in 3rd Cinema.
Each bankruptcy contains a "Films in Focus" part, which analyzes key texts regarding the chapter’s significant subject, together with examples from classical Hollywood, international cinema, and the modern period.
This e-book presents scholars in either movie and gender/women’s stories with a transparent creation to the sphere of feminist movie concept and criticism.
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Extra resources for Feminist Film Studies
How? Does it provide more closure, maintain, or perhaps even increase the ﬁlm’s ambiguities? In our examination of Vertigo, we applied the images of women, psychoanalytic, and cultural studies approaches to the ﬁlm. Choose a contemporary ﬁlm and see what diﬀerent aspects of the text emerge as you apply these three feminist approaches to it. Which approach led you to the most interesting interpretation of the ﬁlm? There are many good anthologies of feminist ﬁlm criticism. The ones listed in the bibliography by Thornham, Erens, Penley, Kaplan, and Carson 33 34 Feminist Film Studies 7.
She became the mistress of a wealthy man who later abandoned her, taking with him their only child. Having lost both her romantic and motherly roles, she went mad and eventually killed herself. Madeleine, the male-created image of feminine perfection, is inextricably linked to this victim of patriarchical oppression. She claims to be possessed by Carlotta, her great-grandmother, who is leading her to suicide. The character of Midge, Carlotta’s story, and its relationship to Madeleine all reﬂect the dilemma of the female spectator and her Oedipal diﬃculties.
Grifﬁth’s woman-centered melodramas, such as True Heart Susie (1919), Broken Blossoms (1919), and Way Down East (1920), represent silent predecessors of the woman’s ﬁlm, and the same can be said of serial queen ﬁlms, like The Woman Who Dared (1911), The American Girl (Harry Solter, 1911), The Exploits of Elaine (Louis J. Gasnier, George B. Seitz, and Leopold Wharton, 1914), and Ruth of the Rockies (George Marshall, 1920) (Neale 2000: 192). These ﬁlms indicate that the woman’s ﬁlm’s origins are not really attached to the sphere of domesticity and romance, as has often been argued, and that at least some of its early representatives fall into the category of the adventure ﬁlm, a sub-genre of the woman’s ﬁlm that has been revived by contemporary action-adventure ﬁlms with female heroines.