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	Feminist film theory - Wikipedia, the free encyclopedia
		Feminist film theory is theoretical work within film criticism which is derived from feminist politics and feminist theory.
		These include discussions of the function of women characters in particular film narratives or in particular genres, such as film noir, where a woman character can often be seen to embody a subversive sexuality that is dangerous to men and is ultimately punished with death.
		In considering the way that films are put together, many feminist film critics have pointed to the "male gaze" that predominates in classical Hollywood filmmaking.
	en.wikipedia.org /wiki/Feminist_film_theory (262 words)

	Feminist horror film theory - Wikipedia, the free encyclopedia
		Critical discussion of gender roles within these films were basically discussion on the one-dimensional characters and the subjugation, sexual objectification and brutal murder of female characters.
		The theory during the 1970s and 80s was that the motivation for the crazed psycho killer, was the negative feelings that he associated with a relationship with a woman.
		This theory springs from the perception of the masculine voyeur (whom the viewer identifies with - according to 70s/80s theories) vs. the feminine victim (who is being looked at, by both the murderer and the male gaze of the audience).
	en.wikipedia.org /wiki/Feminist_horror_film_theory (602 words)

	Theory Encyclopedia Article, Information, History and Biography @ NaturalResearch.org (Site not responding. Last check: 2007-10-09)
		In various sciences, a theory is a logically self-consistent model or framework for describing the behavior of a certain natural or social phenomenon, thus either originating from or supported by experimental evidence (see scientific method).
		For a given body of theory to be considered part of established scientific knowledge, it is usually necessary for it to characterize a critical experiment, namely an experimental result not predicted by any existing established theory.
		In the humanities, theory is often used as an abbreviation for critical theory or literary theory, referring to continental philosophy's aesthetics or its attempts to understand the structure of society and to conceptualize alternatives.
	www.naturalresearch.org /encyclopedia/Theory (2784 words)

	Film theory - Wikipedia, the free encyclopedia
		Film theory seeks to develop concise, systematic concepts that apply to the study of cinema as art.
		Classical film theory provides a structural framework to address classical issues of techniques, narrativity, diegesis, cinematic codes, "the image", genre, subjectivity, and authorship.
		In the 1960s film theory took up residence in academe, importing concepts from established disciplines like psychoanalysis, literary theory and linguistics.
	en.wikipedia.org /wiki/Film_theory (529 words)

	Feminist Film Theory
		Early feminists took consciousness raising as a model for feminist theory because it is necessarily both experiential and transformative.
		Feminist film theory however is often universalizing, and it makes use of complex language and alienating categories which deny women's experiences as active spectators enjoying films or reading them critically.
		Alternatives to psychoanalytic feminist film theory raise new questions about the representation of women in films because of their different accounts of the self, agency, identity, and the cultural surroundings of the subject.
	www.uh.edu /~cfreelan/courses/femfilm.html (1885 words)

	Lecture: Week 2: Feminist Film Theory
		In the late 1970s there was debate surrounding the validity of psychoanalytically-based film theory, and the language of that debate, with the centrality of castration and phallus, is evidence of this emphasis.
		In the early 80s, issues of masculinity, the male body as spectacle and gay politics broadened the feminist film theory field; another issue to be dealt with later in the decade was the backlash against feminism, shown in such films as Fatal Attraction and Disclosure.
		The maturity of feminist film theory has come with the realisation that criticism and theory are subject to history and context - film as cultural text, with its dominant, oppositional and negotiated readings.
	www.yorksj.ac.uk /academic/trs/3th070/lecture2.htm (758 words)

	Continuum 1.2: Mary Ann Doane
		Later in the film, her death is represented as the bent or warped image produced as a result of the abrupt shutting down of the printing press.
		[10] Theory organises the fantasies, dreams, and desires of the theorist and to deny this is to remain perpetually in a transferential relation with a "subject supposed to know." Hence it is also to deny one's own fantasies and desires and their potential activation within theory.
		In film theory this aspect of psychoanalysis is too frequently ignored in favor of a static, inflexible theorisation of an apparatus which is always in place, always functioning.
	wwwmcc.murdoch.edu.au /ReadingRoom/1.2/Doane.html (5212 words)

	Feminist theory (Site not responding. Last check: 2007-10-09)
		Feminist Film Theory: A Reader Information about a book that includes articles on feminist film theory from several contributors.
		Smelik - Feminist Film Theory An introduction to the discipline.
		Feminist Theory and Gender Studies (FTGSS) International Studies Association's FTGSS began in 1990 to develop feminist theory and gender studies.
	www.serebella.com /encyclopedia/article-Feminist_theory.html (367 words)

	Film Theory
		Film theory seeks to develop concise, systematic concepts that apply to the study of cinema.
		From that point on, especially with the expansion of film departments and faculties at institutions of higher learning, film theory and criticism proliferated at a rapid rate, and film journals became as much a place for heated debate on the issues of art and aesthetics as the learned journals were for essays on literature.
		In addition to extracts from the writings of film theorists of the calibre of Eisenstein, Pudovkin, Bazin, Barthes, Metz, and Sontag, there are pieces on such perenially contentious issues auteur theory, narrative and genre, and on many key contemporary topics, including psychoanalysis, feminism, television, and the cultural impact of cinema.
	www.jahsonic.com /FilmTheory.html (2551 words)

	[No title] (Site not responding. Last check: 2007-10-09)
		Feminist film making of today is both developing its own niche of expanding theories and making attempts to remain within the 'mainstream'.
		To keep using these polemic identification of 'Is it a woman's film or feminist film?' for the texts that we view either for enjoyment or study just goes to further the gap between feminist fighting for change in a political sense and the millions of women who do so continuously within their everyday lives.
		The only part of the film that might not be considered a feminist film was the ridiculous cinematic ending of Mildred walking of into the new dawn with her husband, Bert.
	www.mith2.umd.edu /WomensStudies/FilmReviews/M/mildred-pierce (1236 words)

	Early Cinema
		In these classical Hollywood films, she argues, the female character functions as a pure sign; and this sign is merely the representation that the ideological concept of ‘woman’ has for men.
		Film fascinates as it appeals to scopophilia which is in Freudian psychoanalitic theory the ‘desire to see and to objectify’.
		In a lot of Shipman films the leading actress who often even seems to overlap the person of the biographical/historical figure of ‘Shipman’ herself (as can be seen for instance in her short film Something New), speaks to us viewers in a ‘voice-over’ projected on the screen.
	www.klari.net /ingrid/articles/earlyci.html (3065 words)

	Swanson
		Feminist theorists have asked not only what the category 'woman' means and how it is produced, but what it means for women to take up their own position in relation to femininity.
		Arguing that film produces contradictory femininities, Williams suggests that the female spectator is subject to "conflicting divisions in her identifications" according to her specific configurations of experience.
		These are questions which address the difficulties central to feminist work on spectatorship; how can feminist theory construct a heterogeneous model of the spectator that also recognises what we share, what unifies us in a point of department and in a common bid for transforming those relations through which we form ourselves.
	wwwmcc.murdoch.edu.au /ReadingRoom/4.2/Swanson.html (4318 words)

	Free Essay Cavell And Film Theory (Site not responding. Last check: 2007-10-09)
		From within what Cavell calls the "natural relation to movies," film appears magically to satisfy a wish, a wish we may not even have recognized as our own: the wish for the world re-created in its own image, which is also the wish to be able to view the world unseen, free from responsibility.
		When film study dismisses philosophy as naive, illegitimate, and in any case irrelevant to the aspirations of the field, and does so solely by appeal to "theory," which it recognizes as a higher authority, philosophy has a right to protest.
		In Cavell's view, film study has been entranced, not freed, by what the field calls "theory." Like the field of philosophy, film study must awaken from its "trance of thinking" if it is to fully acknowledge its own subject, if it is to recover its own voice.
	www.echeat.com /essay.php?t=25798 (2001 words)

	Feminist Film Criticism
		We will be viewing feature-length films, mostly American, and reading critical and theoretical works on images of women, psychoanalytic theories of the gaze, formal studies of mise-en-scene and montage, cultural studies of voice and narrative, and studies of viewer response and genre (road movie, mystery, melodrama, horror).
		Similarly, feminist film critics often consider the apparatus of the film: the role of the gaze, the look, identification, spectatorship.
		Though feminist theorists may either emphasize the social content of representations, seeking positive images of women, or emphasize the formal innovations of a film text, feminist film critics most often explore how form creates, supports, or subverts content, or how the film positions the viewer and what that positioning implies.
	www.willamette.edu /~fmichel/femfilmcrit.htm (1669 words)

	Feminist film theory (Site not responding. Last check: 2007-10-09)
		'''Feminist film theory''' is [[film theorytheoretical]] work within [[film criticism]] which is derived from [[feminist]] politics and [[feminist theory]].
		In considering the way that films are put together, many feminist film critics have pointed to the "[[male gaze]]" that predominates in [[Classical Hollywood cinemaclassical Hollywood]] filmmaking.
		This argument holds that through the use of various [[film technique]]s, such as [[shot reverse shot]], a typical film's viewer becomes aligned with the point of view of its male protagonist.
	feministfilmtheory.quickseek.com (257 words)

	Passionate Detachments (Site not responding. Last check: 2007-10-09)
		Nearly twenty years later, the postmodern feminist philosopher Donna Haraway used the same expression, passionate detachment, to characterise the feminist critic "who must counter the claims to 'unlimited disembodied vision' of the dominant culture with her own 'situated knowledge' as a woman" (ix).
		After these pioneering texts, feminist film theory largely moved away from dealing with stereotypes of women in a sociological manner and instead moved towards a focus on the spectator-screen relationship with psychoanalysis as an interpretive model.
		But, as Thornham notes, when films like Orlando (Sally Potter, 1993) and The Piano (Jane Campion, 1993) by former avant-garde filmmakers are "able to explore issues fundamental to feminist theory through mainstream film" (170) then the assumptions of earlier film theorists require revision.
	www.nottingham.ac.uk /film/journal/bookrev/passionate_detachments.htm (493 words)

	Multiple Voices in Feminist Film Criticism (Site not responding. Last check: 2007-10-09)
		In its scope, Multiple Voices in Feminist Film Criticism illuminates the range of theoretical, critical, and educational directions open to feminist students of film and encourages readers to participate in assessing and shaping the critical context in which films are produced and received.
		Along with highlighting the diversity of feminist film scholarship, this pluralist approach recognizes differences among women and is attentive to issues of race, class, nationality, ethnicity, and sexuality.
		In addition to this extensive collection of theory and criticism, the editors have added course files that explore the rationale for feminist film courses and show how films and critical readings can be presented in a meaningful way.
	www.upress.umn.edu /Books/C/carson_multiple.html (391 words)

	Anneke Smelik
		Issues of representation and spectatorship are central to feminist film theory and criticism.
		Early feminist criticism was directed at stereotypes of women, mostly in Hollywood films (Haskell 1973/1987, Rosen 1973).
		Feminist critics tried to understand the all-pervasive power of patriarchal imagery with the help of structuralist theoretical frameworks such as semiotics and psychoanalysis.
	www.jahsonic.com /AnnekeSmelik.html (1426 words)

	Lecture: Week 4: INTERSECTION OF FEMINIST FILM THEORY & FEMINIST THEOLOGY
		There are several theories about the establishment of patriarchy as the norm, some dramatically involving rampant hordes of nomadic warriors sweeping across the plains to invade and subjugate Goddess-loving, peaceful agricultural societies of the world.
		Feminist consciousness - which can be experienced by both women and men - can be described as a blinding flash of light: 'it blinds in that it disorients and disturbs the viewers; it is light in the way it vividly illumines the whole landscape', as Catherine Lacugna says (1993, p 9).
		The realisation, in feminist theological terms, is that men have formulated beliefs, written and transmitted sacred writings, and have been the sole interpreters, have created and controlled institutions, worship and rituals.
	www.yorksj.ac.uk /academic/trs/3th070/lecture4.htm (886 words)

	Chick Cinema text (Site not responding. Last check: 2007-10-09)
		“Feminist film theory” is a concept that developed in the late 70s concerning the treatment and roles of women in film.
		Feminist film theory seeks to remove these barriers from women’s roles in film.
		The major points for which those behind feminist film theory base their arguments can be traced as far back as Carl Jung’s idea of the archetypal man. Jungian theory “associated masculinity with rational thought and viewed it as superior to femininity” (Enns 128).
	www.prism.gatech.edu /~gtg425r/english/2.html (453 words)

	British Feminist Film Theory by Ann Kaplan
		Their experience of the film is by no means passive: the women become involved, angered, glad to see Janie’s gradual coming to awareness of her oppression and her organizing to combat it.
		Feminist criticism implies an understanding of women’s oppression as a group and then of the class differences among women which, in turn, affect their degree and kind of oppression.
		She believes that as feminists it is better to know the truth than to run away from it and hopes that by our confronting the true workings of the unconscious, change can come about.
	www.ejumpcut.org /archive/onlinessays/jc12-13folder/britfemtheory.html (7564 words)

	Open Directory - Arts:Movies:Theory and Criticism (Site not responding. Last check: 2007-10-09)
		Classical film theory provides a structural framework to address issues of techniques, narrativity, diegesis, cinematic codes, "the image", genre, subjectivity, and authorship.
		Film criticism is, on some level, encapsulated within this rubric, and includes questions about how and why film works, and what effects it has on viewing subjects.
		Theory and criticism related to a specific genre of film.
	dmoz.org /Arts/Movies/Theory_and_Criticism/desc.html (243 words)

	Afterimage: Sphere of action - feminist film movement (Site not responding. Last check: 2007-10-09)
		B. Ruby Rich's Chick Flicks: Theories and Memories of the Feminist Film Movement is a necessary, passionate and beautifully written call to arms for the feminist film community to remember that ideas are not imbedded exclusively within our lonely, computer-shackled selves, but demand collective action to imagine a better future.
		It is without question one of the most significant film books published in the past year, with brilliant deconstructions of legendary feminist films and searing exposes of the events and people who formed the feminist film movement.
		Like the kind of self-reflexive, complex works she champions, Rich narrates a quarter century of film activism since 1972, from a time when contact with real humans mattered and there was foundational work to be done on feminist film.
	www.findarticles.com /p/articles/mi_m2479/is_6_26/ai_54869110 (1107 words)

	Feminist film theory and Passionate detachments
		In 1972, when the first essay included in Sue Thornham's Feminist film theory: a reader originally appeared, there was very little academic discussion of women and film and certainly not enough material in print to supply readings for a course on the subject.
		Although Thornham's Passionate detachments: an introduction to feminist film theory appeared two years before her Reader, the two books are clearly meant to work in tandem.
		Thornham provides both an historical overview of feminist film studies and a clear presentation of the intellectual debates involved &endash; as they have evolved.
	www.latrobe.edu.au /screeningthepast/reviews/rev0300/hmbr9a.htm (951 words)

	Feminist Theory and Film (Site not responding. Last check: 2007-10-09)
		This is a seminar about contemporary feminist theory -- including but not limited to feminist film theory -- and film.
		In the first half of the course, we will examine the formulations of the "male gaze" and the "woman's film," together with more recent theorizations of race and sexuality in film.
		Our discussion will focus on films from the era of "classic Hollywood cinema." In the second half of the course, we will explore the relation of feminist theory to more recent Hollywood films, and then turn to a variety of films directed by women.
	www.mtholyoke.edu /courses/eyoung (141 words)

	Women's Studies: Feminist Theory (Site not responding. Last check: 2007-10-09)
		FMST (Feminist Studies in Aotearoa Electronic Journal) is produced by and for those interested in feminist theory, feminist perspectives in philosophy, and contemporary feminist debates, publications and research.
		Sections: Introduction, Theory and knowledge, The diversity of feminist theory, Feminist theories of power, The practice of power, Resistance, visions and strategies for change.
		In this interview with Kathleen O'Grady, Rosi Braidotti discusses her recent work at the intersection of feminist and environmental activism, the central role of feminism in the redefinition of philosphy, the polemics between continental and anglo-American feminist discourses, and the development of women studies programs in Western Europe and North America.
	bailiwick.lib.uiowa.edu /wstudies/theory.html (1801 words)

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