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.
Table of Contents
List of Figures
List of Contributors
Kristin Lené Hole, Dijana Jelača, E. Ann Kaplan, Patrice Petro
WHAT IS [FEMINIST] CINEMA?
Classical Feminist Film Theory: Then and (Mostly) Now
Postcolonial and Transnational Approaches to Film and Feminism
Feminist Forms of Address: Mai Zetterling’s Loving Couples
Sound and Gender
Gender in Transit: Framing the Cinema of Migration
"No place for sissies": Gender, Age and Disability in Hollywood
Chinese Socialist Women’s Cinema: An Alternative Feminist Practice
Gender, Socialism and European Film Cultures
Queer or LGBTQ+: On the Question of Inclusivity in Queer Cinema Studies
GENRES, MODES, STARS
Contested Masculinities: The Action Film, the War Film, and the Western
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
Moving Past the Trauma: Feminist Criticism and Transformations of the Slasher Genre Anthony Hayt
Slapstick Comediennes in Silent Cinema: Women’s Laughter and the Feminist Politics of Gender in Motion
Feminist Porn: The Politics of Producing Pleasure
Constance Penley, Celine Parreñas Shimizu, Mireille Miller-Young, and Tristan Taormino
The Postmodern Story of the Femme Fatale
The Documentary: Female Subjectivity and the Problem of Realism
Experimental Women Filmmakers
Feminist and Non-Western Interrogations of Film Authorship
Pink Material: White Womanhood and the Colonial Imaginary in World Cinema Authorship Patricia White
Women, Islam and Cinema: Gender Politics and Representation in Middle Eastern Films and Beyond
African 'First Films': Gendered Authorship, Identity, and Discursive Resistance
Black Women Filmmakers
Fair and Lovely: Class, Gender, and Colorism in Bollywood Song Sequences
What Was "Women’s Work" in the Silent Film Era?
Female Editors in Studio-Era Hollywood: Rethinking Feminist Frontiers and the Constraints of the Archive
Film Activism and Transformative Praxis: Women Make Movies
SPECTATORSHIP, RECEPTION, PROJECTING IDENTITIES
Psychoanalysis Outside and Beyond the Gaze
Embodying Spectatorship: From Phenomenology to Sensation
Film Reception Studies and Feminism
Nollywood, Female Audience, and the Negotiating of Pleasure
Gender and Fandom: From Spectators to Social Audiences
Katherine E. Morrissey
Classical Hollywood and Modernity: Gender, Style, Aesthetics
Lesbian Cinema Post-Feminism: Ageism, Difference, and Desire
THINKING CINEMA’S FUTURE
Revolting Aesthetics: Feminist Transnational Cinema in the US
Towards Trans Cinema
Visualizing Climate Trauma: The Cultural Work of Films Anticipating the
E. Ann Kaplan
Eco-Cinema and Gender
Alexa Weik von Mossner
Cinema, Animal Studies and the Post/Non-Human
Jennifer Lynn Peterson
Class/Ornament: Cinema, New Media, Labor-Power and Performativity
Film Feminism, Post-Cinema and the Affective Turn
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 Jelaca) of Film Feminisms: A Global Introduction (2019).
Dijana Jelaca 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).