Film Feminisms offers a global and updated overview of the history, present-day concerns, and future of feminist film and theory. It introduces frameworks from phenomenology, affect theory, and psychoanalysis to reception studies, new media theories, and critical historiography, as well as engaging with key issues in documentary ethics, genre theory, and star studies.
This new textbook situates feminist film theory within the larger framework of transnational scholarly approaches, as well as decolonial, queer, disability studies, and critical race theories. It offers a much-needed update on pedagogical approaches to feminist film studies, providing discussions of filmmakers and films that have been overlooked in the field, or that are overdue for further analysis.
Each chapter is supported by a variety of pedagogical features including activities, key terms, and case studies. Many of the activities draw on contemporary digital media, such as social media and streaming platforms, to update the field to today's changing media landscape.
Table of Contents
Chapter One: Women Filmmakers and Feminist Authorship
Chapter Two: Spectatorship and Reception
Chapter Three: Cinema and the Body
Chapter Four: Stars: Gendered Texts, Circulating Images
Chapter Five: Documentary: Local Realities, (Trans)National Perspectives
Chapter Six: Feminism and Experimental Film and Video
Chapter Seven: Narrative Film: Gender and Genre
Chapter Eight: From Film to New Media: Emergent Feminist Perspectives
Kristin Lené Hole is an Assistant Professor in Film Studies at Portland State University. She is the author of Towards a Feminist Cinematic Ethics: Claire Denis, Emmanuel Levinas, and Jean-Luc Nancy (2016) and co-editor of The Routledge Companion to Cinema and Gender (with Dijana Jelača, E. Ann Kaplan, and Patrice Petro, 2017).□
Dijana Jelača is Adjunct Professor in the Film Department at Brooklyn College. She is the author of Dislocated Screen Memory: Narrating Trauma in Post-Yugoslav Cinema (2016).
"Film Feminisms is an accessible, comprehensive, theoretically informed text on feminist film studies that is both responsible to the field’s history and responsive to the current wave of interest in gender and representation as the topic intersects with other identities and social forces."
Patricia White, Swarthmore College
"Film Feminisms … integrates an impressive amount of work on the various connections and interactions between film and feminism. Besides its expansive scope, its decidedly transnational orientation … and its intersectional approach are very refreshing."
Aniko Imre, University of Southern California