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feminist film theory
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Journal Article
Camera Obscura (1989) 7 (2-3 (20-21)): 68–81.
Published: 01 December 1989
Journal Article
Camera Obscura (1988) 6 (3 (18)): 80–94.
Published: 01 September 1988
...Diane Waldman Copyright © 1988 by The Johns Hopkins University Press 1988 Film Theory and the Gendered Spectator: The
Female or the Feminist Reader?
Diane Waldman
Like literary theory and criticism, film theory has moved from a notion
of meaning immanent in the text to a concern...
Journal Article
Camera Obscura (2018) 33 (1 (97)): 57–81.
Published: 01 May 2018
... the film sound theorist Michel Chion calls the acousmêtre , or the acousmatic voice. By bringing together Chion, Lacan, and feminist film theory, the article analyzes the acousmatization of the male voice in Gabbeh (dir. Mohsen Makhmalbaf, Iran/France, 1996) and Banoo-ye ordibehesht ( The May Lady , dir...
Journal Article
Camera Obscura (2018) 33 (3 (99)): 1–19.
Published: 01 December 2018
... study for considering women’s filmmaking in neoliberal times because of its centrality to the development of feminist film theory at an earlier historical moment in the 1970s. Reframing the history of the West German feminist film movement, the introduction considers the unfolding of new practices...
Journal Article
Camera Obscura (2023) 38 (1 (112)): 31–53.
Published: 01 May 2023
... and feminist film theory . Cinéfille is conceptually both similar to and different from its near homophone, cinéphile , and aligns the moving image ( ciné ) with the girl ( fille ). The article develops the concept in relation to three areas: the possibility of a cine‐love before and beyond the masculine frame...
FIGURES
Journal Article
Camera Obscura (2017) 32 (2 (95)): 153–163.
Published: 01 September 2017
... film theory and practice and feminist and queer video game culture and criticism. Diana Pozo organizes the Queerness and Games Conference and taught the Queerness and Games Design Workshop at the University of California, Berkeley, in 2015. Pozo recently graduated from the University...
Journal Article
Camera Obscura (2013) 28 (1 (82)): 147–155.
Published: 01 May 2013
... covers the growth of the organization since the 1970s, the close connection between feminist film theory and independent filmmaking in the 1980s, changes in the culture of documentary, gender inequities in film directing and in financing of films about women, the impact of digital culture on educational...
Journal Article
Camera Obscura (2017) 32 (2 (95)): 175–183.
Published: 01 September 2017
... in person during a fictional convention called AwesomeCon; during the course of a single playthrough they can become friends, get into heated arguments, or simply have an awkward conversation and leave. In a similar tradition to ideas advanced in feminist film theory such as Kaja Silverman's Subject...
Journal Article
Camera Obscura (2009) 24 (2 (71)): 1–41.
Published: 01 September 2009
... the image to be secondary, irrational, and
bound to the inadequate plane of the surface. Dudley Andrew has
connected this philosophical tradition to film theory, pointing to
“the more passionate diatribes of Marxists and feminists, who have
to be counted among the chief iconoclasts of our era.”5 So...
Journal Article
Camera Obscura (2013) 28 (1 (82)): 37–67.
Published: 01 May 2013
....
Christine Gledhill argues that Hollywood melodrama has
operated as an imagined point of origin and identification across
time for feminist film theory:
Melodrama addresses us within the limitations of the status quo, of the
ideologically permissible. . . . If melodrama can only end in the place...
Journal Article
Camera Obscura (1989) 7 (2-3 (20-21)): 300–304.
Published: 01 December 1989
..., my ex-
perience with feminist film theory has been analogous to the situation
Balmary describes. During graduate school in the early eighties, I
became extremely dissatisfied with the prevailing formulations of fe- 301
male representation and male spectatorship, derived...
Journal Article
Camera Obscura (1989) 7 (2-3 (20-21)): 155–160.
Published: 01 December 1989
..., address the questionnaire’s dual concerns of theory and experi-
ence, first by devoting a lengthy introductory chapter to issues in
feminist film theory, where spectatorship plays an absolutely central
role, and then by outlining a short preface which traces my own
development as a feminist...
Journal Article
Camera Obscura (2006) 21 (1 (61)): 53–57.
Published: 01 May 2006
... in the
day, there were scores of women’s film festivals and an active feminist
community supporting them, one that included feminist film schol-
ars who created context, theory, and analysis for the films and their
feminist audiences. Currently, feminists make mainstream narrative
films and HBO...
Journal Article
Camera Obscura (1989) 7 (2-3 (20-21)): 319–322.
Published: 01 December 1989
... as for the women who saw and discussed them.
As theoretical work on the cinematic representation of women ex-
panded, my own perspective was influenced by psychoanalytic, semi-
otic and post-structuralist theories as these were interpreted and util-
ized by feminist film scholars. But developing alongside...
Journal Article
Camera Obscura (1989) 7 (2-3 (20-21)): 40–52.
Published: 01 December 1989
...Rhona Berenstein Copyright © 1990 by The Johns Hopkins University Press 1989 ADDITIONAL REFERENCES Armatage , Kay . “Joyce Wieland: The Body of the Work.” Canadian Journal of Political and Social Theory (Summer 1989 ). Armatage , Kay “Fashion in Feminist Film Theory...
Journal Article
Camera Obscura (1989) 7 (2-3 (20-21)): 111–115.
Published: 01 December 1989
... of these applications and assumptions
informed feminist film theory at the time, but there theorists also
exposed problems in conceiving of the subject as mobile. For example,
when Mary Ann Doane cast a critical eye on Laura Mulvey’s notion
of the female spectator’s oscillating...
Journal Article
Camera Obscura (2006) 21 (1 (61)): 39–44.
Published: 01 May 2006
... that have always
formed the basis for feminist inquiry.
The fact that many call feminist film history “new” is sur-
prising, since scholarship that carried out feminist film history or
that synthesized feminist film theory and history has existed since
the onset of second-wave feminism...
Journal Article
Camera Obscura (1989) 7 (2-3 (20-21)): 179–183.
Published: 01 December 1989
... yet to appear, and Molly Haskell and Marjorie
Rosen had yet to publish their books. By the time my dissertation was
published in 1978, feminist film criticism and theory were becoming
established within the discipline of film studies. Clearly my thesis,
Virgins, Vamps and Flappers...
Journal Article
Camera Obscura (1984) 4 (3 (12)): 144–156.
Published: 01 December 1984
... by the end of the book.
But the signrfcance of Kuhn’s contribution transcends that of an intro-
ductory overview. Prior surveys and anthologies of feminist film criticism
and theory, such as Women and Cinema, edited by Kay and Peary, have
assumed that it is possible and desirable to separate...
Journal Article
Camera Obscura (1989) 7 (2-3 (20-21)): 165–168.
Published: 01 December 1989
... of
disciplines, crossing many fields of inquiry precisely at their blind-
spots -literary theory’s avoidance of cinematic theory, cinema theory’s
avoidance of its own history, cinema history’s own historiographic
avoidance of how cinema has been written about, feminist film theory’s...
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