Search Results for women's spectatorship

... a closer look at early television surveillance narratives, this article demonstrates how women's television spectatorship has always entailed a complex negotiation of imposed looking relations that paradoxically attempt to deny the female gaze even as they depend on it. Understanding this historical...

...Lindsey Moore Camera Obscura 2005 Lindsey Moore is lecturer in English at Lancaster University, UK. She has published articles on Algerian revolutionary women in the texts of Frantz Fanon and Gillo Pontecorvo and on Shirin Neshat, an Iranian artist resident in the United States. She...

... their representation in visual and cultural media. They have fought to deploy diverse images of Black womanhood. Through an analysis of film, television, art, and beauty culture, among other media, the essays in this special issue of Camera Obscura on Black women, spectatorship, and visual culture speak...

... for the Nineties. No. 33-34; pp. 133-146. Flinn, Caryl The Deaths of Camp. No. 35; pp. 53-86. Gant-Britton, Lisbeth African Women and Visual Culture: A Sample Syllabus. No 36; pp. 85-118 Grayson, Deborah R. Introduction to Black Women, Spectatorship...

.... Undesignated Addressees: Female Spectatorship/Female Authorship If sexploitation was a form created largely by men, for primarily male audiences, unfurling melodramatic and oft-­apocalyptic fan- tasies regarding women’s newfound erotic agency, how might an 100  •  Camera Obscura undesignated...

... culture exemplified by Bow. For much of her life, Glyn stood against the flapper and “Jazz” girls, instead arguing that women and men should transform their sexual instincts into spiritual communion through erotic, embodied spectatorship; passion constrained by aristocratic manners...

..., heterosexual, etc.) ideology of the cinematic “subject.” My own interest in questions of female spectatorship in film emerged from my resistance to the developing feministlpsychoanalytic wisdom about the cinema that affirmed women’s exclusion from the screen insofar as spectatorial desire...

...,” enabling the female spectator to assume a different position. One outcome of the “150 hours courses” work on female spectatorship was also the making of compilation videos. The aim of re-editing sequences taken from classical as well as women’s cinema was to retrace...

... of the questionnaire respondent: in both cases we take personal ex- perience as our starting point and generalize from there toward a theory. Theories of female spectatorship place experience somewhere near the center, elaborating a general model for gendered identification in the cinema from the actual site...

...- vidual texts “against the grain” (i.e., exposing weak points in patriarchal ideology; affording reading spaces for women), there is no agreement over the significance of female spectatorship in history. If one compares recent work, the contradiction I mentioned earlier...

... of film spectatorship as a form of travelogue and in the context of heterotopia (Perniola 1985 ;Deleuze and Guattari 198 7). In thinking about women and the public sphere, questions arise: what consequences does the “architecture” of cinema have on female...

... also offered a unique opportunity to confront the issue of female spectatorship. Women’s critical responses to these films’ representation of the sexual ambiguity of Marlene Dietrich suggested that the films made available spectatorial pleasures not necessarily explained by re- course...

...-contained narrative form and universalized spectator of the classical feature film. In this sense, the film’s address to women is predicated upon a more general abstraction and commodification of the conditions of spectatorship -a progressive effacement of the formal traces of the diverse...

..., in a manner parallel to that in which they create and embody diverse characters and plot spaces within a dream. I would also like to see work continue on female spectatorship within the filmic diegesis (Doane’s “women who wear glasses,” Williams’s and Silver- man’s victims of horror...

... Copyright © 1990 by The Johns Hopkins University Press 1989 for women, given their socialization. Yet few women seem to be de- 199 veloping their unique program types, or using the technologies in ways which differ from the male urge to dominate computers. Women are, however, turning...

... that has its historical basis in the spectator’s experience of belonging to a socially differ- entiated group called women. As a sub-dominant and relatively in- determinate collective formation, female spectatorship is certainly con- tingent upon dominant subject positions...

... Technologies of Gender (1987), theories of female spectatorship, like work on female subjectivity, need to heed the variety and differences that exist among women, to recognize that there is no universal “fe- male.” I was surprised by the third question-has the notion...

... in film studies in Canada, it would be both inaccurate and unfair to characterize the Canadian context as monolithically engaged with indigenous women’s productions. As stated in Brenda Longfellow’s letter, cineACTION! has explored the issue of spectatorship in relation to the Hollywood text...

... spectatorship, not simply in its empirical manifes- tations (ranging from fan cults through women critics to the involve- ment of women’s clubs in film culture activities such as revivals and screenings of “good” foreign films), but within a theoretical framework that accounts for their contradictions...

..., but in terms of class, labor and nationality as well. I do not find the term “female spectatorship” useful when taken to mean that women will automatically, and easily, take up positions constructed for them through filmic discourse, perfectly filling the mold as it were...