Situating the feminist gaze and spectatorship in postwar cinema

著者

    • Block, Marcelline

書誌事項

Situating the feminist gaze and spectatorship in postwar cinema

edited by Marcelline Block

Cambridge Scholars, 2008

タイトル別名

"Life finds a way"

Hitchcock's "good-looking blondes"

"No woman would die like that"

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注記

Includes bibliographical references and index

収録内容

  • 'Life finds a way': monstrous maternities and the quantum gaze in Jurassic Park and The thirteenth warrior / Lisa DeTora
  • Shifting gender(ed) desire in Anne Fontaine's Nathalie-- / Rachel Ritterbusch
  • Eyes wide shut: kino-eye wide open / M. Hunter Vaughan
  • Hitchcock's 'good-looking blondes': first glimpses and second glances / Ian Scott Todd
  • Family resemblances: (en)gendering Claire Denis, Nicole Garcia and Agnès Jaoui's film titles / Noëlle Rouxel-Cubberly
  • Return of the female gothic: the career-woman-in-peril thriller / Monica Soare
  • Mille genres: woman and women, horror film and horror films / Chuck Robinson
  • A feminist theorization of Sofia Coppola's postfeminist trilogy / Amy Woodworth
  • Laisse tomber les filles: (post)feminism in Quentin Tarantino's Death proof / Jeremi Szaniawski
  • Duras ravaged, ravished--ravishing / Georgiana M.M. Colvile
  • Varda: The gleaner and the just / Sandy Flitterman-Lewis
  • 'No woman would die like that': Stage beauty as corrective-counterpoint to Othello / Elizabeth Gruber
  • Dis-abling the sadistic gaze and deaf prostitutes in Aleksei Balabanov's Of freaks and men and Valerii Todorovskii's Land of the deaf / Izabela Kalinowska
  • Chantal Akerman's cinematic transgressions: transhistorical and transcultural transpositions, translingualism, and the transgendering of the cinematic gaze / Sharon Lubkemann Allen

内容説明・目次

内容説明

Marcelline Block's Situating the Feminist Gaze and Spectatorship in Postwar Cinema breaks new ground in exploring feminist film theory. It is a wide-ranging collection (re)visiting important theoretical questions as well as offering close analyses of films produced in the United States, France, England, Belgium, and Russia. This anthology investigates exciting areas of research for critical inquiry into film and gender studies as well as feminist, queer, and postfeminist theories, and treats film texts from Marguerite Duras to 21st century horror films; from Agnes Varda's 2007 installation at the Pantheon to the post-Soviet Russian filmmakers Aleksei Balabanov and Valerii Todorovskii; from Quentin Tarantino's Death Proof to Sofia Coppola's postfeminist trilogy; from Chantal Akerman's "transhistorical, transgressive and transgendered gaze" to the "quantum gaze" in Steven Spielberg's Jurassic Park; from Hitchcock's "good-looking blondes" to the career-woman-in-peril thriller, among others. According to the semiotician Marshall Blonsky of the New School University in New York, "given the breadth of the editor's choices, this volume makes a splendid contribution to feminist and cinematic fields, as well as cultural and media studies, postmodernism, and postfeminism. It lends readers 'new eyes' to view canonical and other film texts." David Sterritt, chairman of the National Society of Film Critics, states that this anthology "should be required reading for students and scholars, among other readers interested in the interaction of cinema with contemporary culture." Situating the Feminist Gaze and Spectatorship is prefaced by Jean-Michel Rabate's brilliant essay, "Mulvey was the First..."

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