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“This anthology makes it abundantly transparent that feminist movie feedback is thriving and has built dramatically considering its inception within the early 1970s.” —Journal of Aesthetics and paintings Criticism

Erens brings jointly a wide selection of writings and methodologies by means of U.S. and British feminist movie students. The twenty-seven essays symbolize probably the most influential paintings on Hollywood movie, women's cinema, and documentary filmmaking to seem in the past decade and beyond.

Contributors contain Lucie Arbuthnot, Linda Artel, Pam prepare dinner, Teresa de Lauretis, Mary Ann Doane, Elizabeth Ellsworth, Lucy Fischer, Jane Gaines, Mary C. Gentile, Bette Gordon, Florence Jacobowitz, Claire Johnston, E. Ann Kaplan, Annette Kuhn, Julia Lesage, Judith Mayne, Sonya Michel, Tania Modleski, Laura Mulvey, B. Ruby wealthy, Gail Seneca, Kaja Silverman, Lori Spring, Jackie Stacey, Maureen Turim, Diane Waldman, Susan Wengraf, Linda Williams, and Robin Wood.

Patricia Erens

I. serious technique: girls and Representation

Positive Images
Screening Women’s Films
Linda Artel and Susan Wengraf
There’s extra to a good picture Than Meets the Eye
Diane Waldman
The position of girls within the Cinema of Raoul Walsh
Pam prepare dinner and Claire Johnston
Visual excitement and Narrative Cinema
Laura Mulvey
Film and the Masquerade
Theorizing the feminine Spectator
Mary Ann Doane
Hitchock, Feminism, and the Patriarchal Unconscious
Tania Modleski
Women and Respresentation
Can We take pleasure in substitute Pleasure?
Jane Gaines

II. Rereading Hollywood Films

Gentlemen devour Blondes
Maureen Turim
Pre-text and textual content in gents favor Blondes
Lucie Arbuthnot and Gail Seneca
The Case of the lacking Mother
Maternal concerns in Vidor’s Stella Dallas
E. Ann Kaplan
“Something Else along with a Mother”
Stella Dallas and the Maternal Melodrama
Linda Williams
Seduced and Abandoned
Recollection and Romance in Letter from an Unkown Woman
Lucy Fischer
Illicit Pleasures
Feminist Spectators and private Best
Elizabeth Ellsworth
White Privilege and searching Relations
Race and Gender in Feminist movie Theory
Jane Gaines

III. serious technique: Feminist Filmmaking

The Political Aesthetics of the Feminist Documentary Film
Julia Lesage
Feminism, movie, and Public History
Sonya Michel
Textual Politics
Annette Kuhn
In the identify of Feminist movie Criticism
B. Ruby Rich
Rethinking Women’s Cinema Aesthetics and Feminist Theory
Teresa de Lauretis
Dis-Embodying the feminine Voice
Kaja Silverman

IV. Assessing motion pictures Directed by means of Women

Images and Women
Robin Wood
Unspoken and Unsolved inform Me a Riddle
Florence Jacobowitz and Lori Spring
Desperately looking Difference
Jackie Stacey
Female Narration, Women’s Cinema
Helke Sander’s The All-Round diminished Personality/Redupers
Judith Mayne
Feminist or Tendentious?
Marleen Gorris’s a question of Silence
Mary C. Gentile
Soft factor, difficult World
B. Ruby Rich
The excitement in Looking
Bette Gordon

Selected Bibliography

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Extra resources for Issues in Feminist Film Criticism

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From her dubious hypothesis Person reaches the following conclusions: "Many women have the capacity to abstain from sex without negative psychological consequences. " I hope that in the current conservative climate Person is having second thoughts, but I'm not counting on it. " No doubt about it—when one must endure abstinence, repression, or suppression, the capacity to adapt does come in handy. But somehow I always imagined that feminism was about rebelling, not adapting. Lust Horizons 9 It has been years since feminist sexual conservatism (a contradiction in terms, really) has had to face any sustained or organized opposition, but that is beginning to change.

Finally, the sexual revolution did not seriously challenge the taboo on lesbianism (or homosexuality in general). At its inception, the women's liberation movement was dominated by young women who had grown up during or since the emergence of sexual libertarian ideology; many radical feminists came out of the left and the counterculture, where that ideology was particularly strong. Unsurprisingly, one of the first issues to surface in the movement was women's pent-up rage at men's one-sided, exploitative view of sexual freedom.

In my view, the reason for this development (or at least its catalyst) was the rise of the new right. O of its energy to making a radical critique of liberalism. " But as liberalism fell apart, so did the apparent feminist consensus on sex. Confronted with a right-wing backlash bent on reversing social acceptance of non-marital, non-procreative sex, feminists like me, who saw sexual liberalism as deeply flawed by sexism but nonetheless a source of crucial gains for women, found themselves at odds with feminists who dismissed the sexual revolution as monolithically sexist and shared many of the attitudes of conservative moralists.

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