1st Edition

The Routledge Companion to Cinema & Gender

Edited By Kristin Hole, Dijana Jelača, E. Kaplan, Patrice Petro Copyright 2017
    512 Pages
    by Routledge

    512 Pages 38 B/W Illustrations
    by Routledge

    The Routledge Companion to Cinema and Gender comprises forty-three innovative essays that offer both an overview of and an intervention into the field of cinema and gender.

    The contributions in this volume address a variety of geographical and cultural contexts through an analysis of cinema, from the representation of women and Islam in Middle Eastern film, and female audience reception in Nigeria, to changing class and race norms in Bollywood dance sequences. The book includes a special focus on women directors in a global context, examining films and filmmakers from Asia, Africa, Australia, Europe, and North and South America.

    Alongside a comprehensive overview of feminist perspectives on genre, this collection also offers discussion on a range of approaches to spectatorship, reception studies, and fandom, as well as transnational approaches to star studies and the relationship between feminist film theory and new media. Other topics include queer and trans* cinema, ecocinema, the post-human, and the methodological dimensions of feminist film history.

    This Routledge Companion provides researchers, students, and scholars with an essential guide to the key political, cultural, and theoretical debates surrounding cinema and gender.

    List of Figures


    List of Contributors


    Kristin Lené Hole, Dijana Jelača, E. Ann Kaplan, Patrice Petro

    Part I



    Chapter 1

    Classical Feminist Film Theory: Then and (Mostly) Now

    Patrice Petro

    Chapter 2

    Postcolonial and Transnational Approaches to Film and Feminism

    Sandra Ponzanesi

    Chapter 3

    Feminist Forms of Address: Mai Zetterling’s Loving Couples

    Lucy Fischer

    Chapter 4

    Sound and Gender

    Kathleen Vernon

    Chapter 5

    Gender in Transit: Framing the Cinema of Migration

    Sumita Chakravarty

    Chapter 6

    "No place for sissies": Gender, Age and Disability in Hollywood

    Sally Chivers

    Chapter 7

    Chinese Socialist Women’s Cinema: An Alternative Feminist Practice

    Lingzhen Wang

    Chapter 8

    Gender, Socialism and European Film Cultures

    Anikó Imre

    Chapter 9

    Queer or LGBTQ+: On the Question of Inclusivity in Queer Cinema Studies

    Amy Borden


    Part II



    Chapter 10

    Contested Masculinities: The Action Film, the War Film, and the Western

    Yvonne Tasker

    Chapter 11

    The Rise and Fall of the Girly Film: From the Woman’s Picture to the New Woman’s Film, the Chick Flick and the Smart-Chick Film

    Hilary Radner

    Chapter 12

    Moving Past the Trauma: Feminist Criticism and Transformations of the Slasher Genre Anthony Hayt

    Chapter 13

    Slapstick Comediennes in Silent Cinema: Women’s Laughter and the Feminist Politics of Gender in Motion

    Margaret Hennefeld

    Chapter 14

    Feminist Porn: The Politics of Producing Pleasure

    Constance Penley, Celine Parreñas Shimizu, Mireille Miller-Young, and Tristan Taormino

    Chapter 15

    The Postmodern Story of the Femme Fatale

    Julie Grossman

    Chapter 16

    The Documentary: Female Subjectivity and the Problem of Realism

    Belinda Smaill

    Chapter 17

    Experimental Women Filmmakers

    Maureen Turim

    Chapter 18

    Transnational Stardom

    Russell Meeuf

    Part III



    Chapter 19

    Feminist and Non-Western Interrogations of Film Authorship

    Priya Jaikumar

    Chapter 20

    Pink Material: White Womanhood and the Colonial Imaginary in World Cinema Authorship Patricia White

    Chapter 21

    Women, Islam and Cinema: Gender Politics and Representation in Middle Eastern Films and Beyond

    Eylem Atakav

    Chapter 22

    African 'First Films':  Gendered Authorship, Identity, and Discursive Resistance

    Anne Ciecko

    Chapter 23

    Black Women Filmmakers

    Jacqueline Bobo

    Chapter 24

    Fair and Lovely: Class, Gender, and Colorism in Bollywood Song Sequences

    Tejaswini Ganti

    Chapter 25

    What Was "Women’s Work" in the Silent Film Era?

    Jane Gaines

    Chapter 26

    Female Editors in Studio-Era Hollywood: Rethinking Feminist Frontiers and the Constraints of the Archive

    J.E. Smyth

    Chapter 27

    Film Activism and Transformative Praxis: Women Make Movies

    Debra Zimmerman

    Part IV



    Chapter 28

    Psychoanalysis Outside and Beyond the Gaze

    Claire Pajaczkowska

    Chapter 29

    Embodying Spectatorship: From Phenomenology to Sensation

    Jenny Chamarette

    Chapter 30

    Deleuzian Spectatorship

    Felicity Colman

    Chapter 31

    Film Reception Studies and Feminism

    Janet Staiger

    Chapter 32

    Nollywood, Female Audience, and the Negotiating of Pleasure

    Ikechukwu Obiaya

    Chapter 33

    Gender and Fandom: From Spectators to Social Audiences

    Katherine E. Morrissey

    Chapter 34

    Classical Hollywood and Modernity: Gender, Style, Aesthetics

    Veronica Pravadelli

    Chapter 35

    Lesbian Cinema Post-Feminism: Ageism, Difference, and Desire

    Rachel Lewis


    Part V



    Chapter 36

    Revolting Aesthetics: Feminist Transnational Cinema in the US

    Katarzyna Marciniak

    Chapter 37

    Towards Trans Cinema

    Eliza Steinbock

    Chapter 38

    Visualizing Climate Trauma: The Cultural Work of Films Anticipating the


    E. Ann Kaplan

    Chapter 39

    Eco-Cinema and Gender

    Alexa Weik von Mossner

    Chapter 40

    Cinema, Animal Studies and the Post/Non-Human

    Jennifer Lynn Peterson

    Chapter 41

    Class/Ornament: Cinema, New Media, Labor-Power and Performativity

    Erica Levin

    Chapter 42

    Film Feminism, Post-Cinema and the Affective Turn

    Dijana Jelača

    Chapter 43

    Fantasy Echoes and the Future Anterior of Cinema and Gender

    Kristin Lené Hole  






    Kristin Lené Hole is an Assistant Professor in the School of Film at Portland State University, USA. She is the author of Towards a Feminist Cinematic Ethics: Claire Denis, Emmanuel Levinas, and Jean-Luc Nancy (2016) and co-author (with Dijana Jelača) of Film Feminisms: A Global Introduction (2019).

    Dijana Jelača teaches in the Film Department at Brooklyn College, USA. She is the author of Dislocated Screen Memory: Narrating Trauma in Post-Yugoslav Cinema (2016) and co-author (with Kristin Lené Hole) of Film Feminisms: A Global Introduction (2019).

    E. Ann Kaplan is Distinguished Professor of English and Women’s, Gender and Sexuality Studies at Stony Brook University, USA, where she also founded and directed The Humanities Institute. She is Past President of the Society for Cinema and Media Studies. Kaplan’s pioneering research on women in film includes Women in Film: Both Sides of the Camera, Motherhood and Representation, Looking for the Other, and Feminism and Film. Her recent research focuses on trauma: see Trauma and Cinema (2004) with Ban Wang; Trauma Culture: The Politics of Terror and Loss in Media and Literature (2005); and Climate Trauma: Foreseeing the Future in Dystopian Film and Fiction (2015).

    Patrice Petro is Dick Wolf Director of the Carsey-Wolf Center, Professor of Film and Media Studies, and Presidential Chair in Media Studies at the University of California, Santa Barbara, USA. She is the author, editor, and co-editor of twelve books, most recently Idols of Modernity: Movie Stars of the 1920s (2010), Teaching Film (2012), and After Capitalism: Horizons of Finance, Culture, and Citizenship (2016).