... University of Southern California Laura Mulvey Under the influence of the Women’s Movement, my experience of cinema changed, and I became aware of the “female spectator” first as a dilemma within myself. Until then, I had loved Hollywood films, more or less...

...Will Scheibel Famously touted as “the most beautiful woman in movie history” by Darryl F. Zanuck, the chief executive of Twentieth Century Fox, actress Gene Tierney achieved major stardom with Fox’s classic Laura (dir. Otto Preminger, US, 1944) following years of being typecast as an Orientalist...

...Laura U. Marks Copyright © 1992 by The Johns Hopkins University Press 1991 Tie a Yellow Ribbon Around Me: Masochism, Militarism and the Gulf War on TV Laura U. Marks The United States’ war with Iraq, despite its rather ignominious con- clusion, produced one durable...

...Laura Mulvey Copyright © 1990 by The Johns Hopkins University Press 1989 ...

...Laura Mulvey Copyright © 1993 by Indiana University Press 1993 Xala, Ousmane Sembene (1974): The Carapace That Failed Laura Mulvey The film language of Xala can be constructed on the model of an African poetic form called “sem...

...Laura Horak The commercial success of Elinor Glyn's 1927 film It has obscured the fact that, throughout her career until this point, Glyn had promoted a significantly different sexual ideology. In a remarkable array of novels, plays, lectures, interviews, editorials, and advice manuals, Glyn had...

...Laura Stempel Mumford Copyright © 1994 by Indiana University Press 1994 thirtysomething Stripping on the Girl Channel: Lifetime, thirtysomething, and Television Form Laura Stempel Mumford Television drama texts are defined as much...

...Laura Christian Camera Obscura 2004 Laura Christian is a doctoral candidate in the History of Consciousness Program at the University of California, Santa Cruz. James Lyons as Jack Bolton in Poison (US, 1991). Courtesy Killer Films Of Housewives and Saints: Abjection...

...Laura Scott Holliday Camera Obscura 2001 Laura Scott Holliday received her Ph.D. in English and women's studies from the University of California, Santa Barbara, in 2000 and is now an assistant professor of English at Randolph-Macon College in Ashland, Virginia. Her research and teaching...

...Laura Grindstaff Camera Obscura 2001 Laura Grindstaff is an assistant professor of sociology at the University of California, Davis, and a member of the graduate group in cultural studies. She teaches in the areas of media, popular culture, ethnography, and social and feminist theory...

...Laura U. Marks Camera Obscura 2003 Laura U. Marks , a theorist and curator of independent and experimental media, is the author of The Skin of the Film: Intercultural Cinema, Embodiment, and the Senses (Durham, NC: Duke University Press, 2000) and Touch: Sensuous Theory...

...Laura Shackelford Camera Obscura 2006 Laura Shackelford is a visiting lecturer of English at Indiana University, Bloomington. She has just completed a manuscript, “Tracking the Human out of Print,” which examines feminist, queer, and subaltern engagements with new media/global capitalist...

... dynamic that might be called sacrificial melancholia: Richard bears the burden of martyrdom so that Clarissa Vaughan (Meryl Streep) and Laura Brown (Julianne Moore) might move on from their own losses. Melodramatic Excess and Lost Musical Origins Peter Brooks makes the compelling claim...

..., and the unhappy acknowledgment of lesbian identity—but tac- itly reframes their meaning. Indeed, Forbidden Love’s pulp sequence is strikingly simi- lar to the journeys of Ann Bannon’s antiheroine, Laura Landon, in Bannon’s 1957 and 1959 novels...

... Pas- sages,” this sequence broaches the predicament of marriage and the pleasures and disappointments of intimacy. Attentive husband Dan ( John C. Reilly) brings flowers to his wife Laura ( Julianne Moore) on what we later learn is his birthday, not hers. Meanwhile, Leonard Woolf (Stephen...

...  •  Camera Obscura the film features a mysterious dancing singer, Laura (Hye-­soo Kim). In her first appearance, she gives two eye-­catching perfor- mances: first, she performs a striptease on a highly theatrical stage at a dance bar. Later, she sings in a sequined black dress against the backdrop...

... at the University of California, Irvine, I have the students read Laura Mulvey’s seminal (pardon the expression) “Visual Pleasure and Narrative Cinema” and suggest they present a critique in the form of a pop melody — like “Always” or “In the Midnight Hour” or something more up to date.1 So far...

... Mandy Merck How did it happen then? What is to be done now?  — Yvonne Rainer, “Archive for the Future: Mulvey’s Legacy” “Seminal (pardon the expression)” or simply “seminal,”1 the film theory of Laura Mulvey, and in particular her 1975 essay “Visual Pleasure and Narrative Cinema,” has been...

... for Manni in his pre-Ronnie role as Marco. An uncanny similar- ity between Marco and Manni is revealed in Marco’s discourse with both Rebecca and her friend Laura (Marie-Lou Sellem). When speaking to Rebecca after she discovers her grandmother has died, he tells her, “You look horrible” (Wie siehst...

... of mainstream cinema. We saw film as a radical weapon with which we hoped to change women’s view of society and of their place within that society.* My growing fascination/obsession with the question of the female spectator was inspired by Laura Mulvey’s (1975)visual...