1st Edition

Visual Culture and Gender

ISBN 9780415830041
Published December 1, 2014 by Routledge
1580 Pages

USD $1,655.00

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Book Description

Issues and themes in and around gender and visual culture have generated a huge and complex scholarly literature. Now, to enable users to make sense of an explosion of scholarship, this new title from Routledge’s Major Works publishing programme answers the need for an authoritative reference work. In four volumes, the collection's editor has carefully curated the foundational and the very best cutting-edge research.

With a full index, and thoughtful introduction, newly written by the editor, Visual Culture and Gender traces the progress of research in this field, and highlights the challenges for future explorations.

Table of Contents

Volume I: Gender Equity

1. Discovering Women

1. L. Nochlin, ‘Why Have There Been No Great Women Artists?’, Art News, Jan. 1971, 69, 22–39.

2. G. Pollock, ‘Feminist Interventions in the History of Art’, Vision and Difference (Routledge, 1988), pp. 1–24.

3. L. Jordanova, ‘Body Image and Sex Roles’, Sexual Visions: Images of Gender in Science and Medicine Between the Eighteenth and Twentieth Centuries (University of Wisconsin Press, 1989), pp. 43–65.

4. K. Hanna, ‘Partner’s in Crime: Punk’s Trailblazers: Kathleen Hanna’, We Owe You Nothing: Punk Planet, The Collected Interviews (Punk Planet Books, 2008), pp. 60–77.

5. B. R. Rich, ‘The Confidence Game’, Camera Obscura, 2013, 28, 182, 157–65.

6. J. Cohn, ‘Female Labour and Digital Media: Pattie Maes, Postfeminism, and the Birth of Social Networking Technologies’, Camera Obscura, 2013, 28, 2, 151–75.

2. Feminism and Media

7. A. Dworkin, ‘Against the Male Flood: Censorship, Pornography, and Equality’, Harvard Women’s Law Journal, 1985, 1, 1–20.

8. L. Williams, ‘Second Thoughts on Hard Core: American Obscenity Law and the Scapegoating of Deviance’, Dirty Looks: Women, Pornography and Power (British Film Institute, 1993), pp. 46–61.

9. Y. Yarbro-Bejarano, ‘Diane Gamboa’s Invasion of the Snatch: The Politics and Aesthetics of Representing Gendered Violence’, Cultural Critique, 2013, 85, 1, 61–83.

10. J. Radway, ‘Women Read the Romance: The Interaction of Text and Context’, Feminist Studies, 1983, 9, 1, 53–78.

11. J. Stacey, ‘The Lost Audience: Methodology, Cinema History and Feminist Film Criticism’, Feminist Cultural Theory (Manchester University Press, 1995), pp. 97–118.

12. P. C. Gibson, ‘Redressing the Balance: Patriarchy, Postmodernism and Feminism’, Fashion Cultures: Theories, Explanations and Analysis (Routledge, 2005), pp. 347–62.

13. M. C. Kearney, ‘Pink Technology: Mediamaking Gear for Girls’, Camera Obscura, 2010, 25, 2, 74, 1–39.

3. Discovering Masculinity

14. R. Rushing, ‘Gentlemen Prefer Hercules: Desire, Identification, Beefcake’, Camera Obscura, 2008, 23, 369, 159–91.

15. J. Entwistle, ‘From Catwalk to Catalogue: Male Models, Masculinity and Identity’, Cultural Bodies: Ethnography and Theory (Blackwell Publishers, 2004), pp. 55–75.

16. N. McLaughlin, ‘Rock, Fashion and Performativity’, Fashion Cultures: Theories, Explanations and Analysis (Routledge, 2005), pp. 264–85.

17. M. Fradley, ‘Maximus Melodramaticus: Masculinity, Masochism and White Male Paranoia in Contemporary Hollywood Cinema’, Action and Adventure Cinema (Routledge, 2004), pp. 235–51.

18. E. Kirkland, ‘Masculinity in Video Games: The Gendered Gameplay of Silent Hill’, Camera Obscura, 2009, 24, 271, 161–83.

Volume II: Gender Formation and Visuality

1. Looking

19. R. Barthes, ‘Rhetoric of the Image’, Image, Music, Text (Hill and Wang, 1977), pp. 32–51.

20. M. Foucault, ‘Panopticism’, Discipline and Punish: The Birth of the Prison (Random House, 1979), pp. 195–205.

21. B. Skeggs, ‘Context and Background: Pierre Bourdieu’s Analysis of Class, Gender and Sexuality’, Sociological Review, 2004, 52, 2, 19–33.

22. L. Grossberg, ‘Cultural Studies and Deluze-Guattari, Part I’, Cultural Studies, 2014, 28, 1, 1–28.

2. Psychoanalysis and Gender

23. S. Freud, ‘Fetishism’, Sigmund Freud: Collected Papers, Vol. V (Basic Books, 1959), pp. 198–204.

24. E. Grosz, ‘The Ego and the Imaginary’, Jacques Lacan: A Feminist Introduction (Routledge, 1990), pp. 24–49.

25. L. Iragaray, ‘How to Conceive of (a) Girl’, Speculum of the Other Woman (Cornell University Press, 1985), pp. 160–7.

26. L. Mulvey, ‘Visual Pleasure and Narrative Cinema’, Visual and Other Pleasures (Macmillan, 1989), pp. 14–26.

27. J. Kristeva, ‘Approaching Abjection’, Powers of Horror: An Essay on Abjection (Columbia University Press, 1982), pp. 1–31.

28. C. Clover, ‘Her Body, Himself’, Men, Women and Chainsaws: Gender in the Modern Horror Film (Princeton University Press, 1992), pp. 21–64.

29. B. Creed, ‘Kristeva, Abjectivity, Abjection’, The Monstrous-Feminine: Film, Feminism, Psychoanalysis (Routledge, 1993), pp. 8–15.

3. Gender as Mask and Performance

30. M. A. Doane, ‘Film and the Masquerade: Theorizing the Female Spectator’, Screen, 1982, 23, 3–4, 74–87.

31. T. Modleski, ‘Femininity as Mas(s)querade’, Feminism Without Women: Culture and Criticism in a ‘Postfeminist’ Age (Routledge, 1991), pp. 23–34.

32. C. Evans and L. Gamman, ‘The Gaze Revisited, or Reviewing Queer Viewing’, A Queer Romance: Lesbians, Gay Men and Popular Culture (Routledge, 1995), pp. 13–56.

33. K. Almond, ‘Masquerade in Clubland: A Safe Space for Glamour’, Visual Culture and Gender, 2011, 6, 60–71.

34. T. de Lauretis, ‘Aesthetic and Feminist Thinking: Rethinking Women’s Cinema’, New German Critique, 1985, 34, 154–75.

35. L. Mulvey, ‘Afterthoughts on "Visual Pleasure and Narrative Cinema" Inspired by King Vidor’s Duel in the Sun (1946)’, Visual and Other Pleasures (Macmillan, 1946), pp. 29–38.

36. J. Butler, Bodies that Matter: Feminist Theory and the Body (Routledge, 1999), pp. 235–45.

4. Gender and Postmodernity

37. C. Pajaczkowska, ‘Issues in Feminist Visual Culture’, Feminist Visual Culture (Routledge, 2001), pp. 1–21.

38. J. Rose, ‘Sexuality in the Field of Vision’, Sexuality in the Field of Vision (Verso, 2005), pp. 224–33.

39. A. McRobbie, ‘Conclusion: Inside and Outside the Feminist Academy’, The Aftermath of Feminism: Gender, Culture and Social Change (Sage, 2009), pp. 150–70.

40. C. Coffman, ‘The Sinthomosexual’s Failed Challenge to (Hetero)sexual Difference’, Culture, Theory and Critique, 2013, 54, 1, 56–73.

Volume III: Intersectionality

1. Different as Black and White

41. L. G. Collins, ‘Activists Who Yearn for Art That Transforms: Parallels in the Black Arts and Feminist Art Movements in the United States’, Signs, 2006, 31, 3, 717–52.

42. A. duCille, ‘Toy Theory: Black Barbie and the Deep Play of Difference’, Skin Trade (Harvard University Press, 1996), pp. 8–59.

43. R. Dyer, ‘The White Man’s Muscles’, White (Routledge, 1997), pp. 145–206.

44. H. Gray, ‘Black Masculinity and Visual Culture’, Callaloo, 1995, 18, 2, 401–5.

45. E. H. Hammonds, ‘New Technologies of Race’, The Gendered Cyborg (Routledge, 2000), pp. 305–18.

46. B. Hooks, ‘The Oppositional Gaze: Black Female Spectators’, Black Looks: Race and Representation (South End Press, 1992), pp. 115–32.

2. Queering the Norms

47. Y. Rainer, ‘Working Around the L-Word. Queer Looks: Perspectives on Lesbian and Gay Film and Video’, Between the Lines (1993), pp. 12–20.

48. T. T. Minh-ha, ‘All Owning Spectatorship’, When the Moon Waxes Red: Representation, Gender and Cultural Politics (Routledge, 1991), pp. 81–106.

49. R. Lewis, ‘Eroticized Bodies: Representing Other Women’, Rethinking Orientalism: Women, Travel, and the Ottoman Harem (Rutgers University Press, 2005), pp. 142–77.

50. J. Halberstam, ‘What’s That Smell? Queer Temporalities and Subcultural Lives’, International Journal of Cultural Studies, 2003, 6, 3, 313–33.

51. E. Oishi, ‘Visual Perversions: Race, Sex and Cinematic Pleasure’, Signs, 2006, 31, 3, 641–74.

52. C. Jankovic and N. Awad, ‘Queer/Palestinian Cinema: A Critical Conversation on Palestinian Queer and Women’s Filmmaking’, Camera Obscura, 2012, 27, 280, 135–43.

3. Diaspora

53. G. Pollock, ‘Tracing Figures of Presence, Naming Ciphers of Absence: Feminism, Imperialism, and Postmodernity in the Work of Sutapa Biswas’, With Other Eyes: Looking at Race and Gender in Visual Culture (University of Minnesota Press, 1999), pp. 213–36.

54. C. Hirschkind and S. Mahmood, ‘Feminism, the Taliban, and Politics of Counter-Insurgency’, Anthropological Quarterly, 2002, 75, 2, 339–54.

55. J. Sotsky, ‘They Call Me Muslim: Muslim Women in the Media Through and Beyond the Veil’, Feminist Media Studies, 2013, 13, 5, 791–9.

56. A. Haddour, ‘Torture Unveiled: Rereading Fanon and Bourdieu in the Context of May 1958’, Theory, Culture and Society, 2010, 27, 7–8, 66–90.

Volume IV: Consuming Desire and Knowing the Body

1. The Scientific Gaze

57. J. D. Slack and M. M. Semati, ‘The Politics of the "Sokal Affair", Wild Science: Reading Feminism, Medicine and the Media (Routledge, 2000), pp. 215–41.

58. L. Cartwright, ‘A Cultural Anatomy of the Visible Human Project’, The Visible Woman: Imaging Technologies, Gender and Science (New York University Press, 1998), pp. 21–43.

59. C. Roberts, ‘Fluid Ecologies: Changing Hormonal Systems of Embodied Difference’, Bits of Life: Feminism at the Intersections of Media, Bioscience and Technology (University of Washington Press, 2008), pp. 45–60.

60. B. Preciado, ‘Pharmaco-Pornographic Politics: Towards a New Gender Ecology’, Parallax, 2008, 14, 1, 105–18.

2. Economies of Gender

61. D. Clark, ‘Commodity Lesbianism’, Camera Obscura, 1991, 1–2, 25–6, 181–201.

62. J. Entwhistle and D. Slater, ‘Models as Brands: Critical Thinking About Bodies and Images’, Fashioning Models: Image, Text and Industry (Berg, 2012), pp. 15–36.

63. I. Jirasek et al., ‘Reimagining Athletic Nudity: The Sexualization of Sport as a Sign of a "Porno-ization" of Culture’, Sport in Society: Cultures, Commerce, Media, Politics, 2013, 16, 6, 721–34.

64. W.-H. S. Tsai, ‘Assimilating the Queers: Representations of Lesbians, Gay Men, Bisexual, and Transgender People in Mainstream Advertising’, Advertising and Society Review, 2010, 11, 1.

65. M.-H. T. Pham, ‘Blog Ambition: Fashion, Feelings, and the Political Economy of the Digital Raced Body’, Camera Obscura, 2011, 26, 176, 1–37.

3. Posthumanism

66. D. Haraway, ‘More than Metaphor’, Feminist Science Studies (Routledge, 2001), pp. 81–6.

67. E. Grosz, ‘The Body as Inscriptive Surface’, Volatile Bodies: Toward a Corporeal Feminism (Indiana University Press, 1994), pp. 138–59.

68. A. Balsamo, ‘Reading Cyborgs; Writing Feminisms’, The Gendered Cyborg (Routledge, 2000), pp. 148–58.

69. Z. Sofoulis, ‘Cyberquake: Haraway’s Manifesto’, Prefiguring Cyberculture: An Inrtellectual History (MIT Press, 2002), pp. 84–104.

70. G. Deluze and F. Guattari, ‘Becoming Intense, Becoming Animal, Becoming Imperceptible’, A Thousand Plateaus: Capitalism and Schizophrenia (University of Minnesota Press, 1987), pp. 272–309.

71. R. Braidotti, ‘Nomadic Ethics’, Deleuze Studies, 2013, 7, 3, 342–59.

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Edited and with a new introduction by Annette Burfoot, Queen’s University, Canada