The four volumes of Film Study include a fresh approach to each of the basic categories in the original edition. Volume one examines the film as film; volume two focuses on the thematic approach to film; volume three draws on the history of film; and volume four contains extensive appendices listing film distributors, sources, and historical information as well as an index of authors, titles, and film personalities.

"Feminist Film studies: Writing the Woman into Cinema provides an introduction to feminist film theory as a discourse that grew in cultural significance since the early 1970s to the present." -- Page 4 of cover.

From popular films like Greta Gerwig’s Barbie (2023) to Chantal Akerman’s avant-garde classic Jeanne Dielman (1975), feminist cinema can provoke discomfort. Ambivalence, stasis, horror, cringe—these and other affects refuse the resolution of feeling good or bad, leaving viewers questioning and disoriented. In Feminism and the Cinema of Experience, Lori Jo Marso examines how filmmakers scramble our senses to open up space for encountering and examining the political conditions of patriarchy, racism, and existential anxiety. Building on Akerman’s cinematic lexicon and Simone de Beauvoir’s phenomenological attention to the lives of girls and women, Marso analyzes film and television by directors ranging from Akerman, Gerwig, Mati Diop, Catherine Breillat, and Joey Soloway to Emerald Fennell, Michaela Coel, Audrey Diwan, Alice Diop, and Julia Ducournau. Through their innovative and intentional uses of camera, sound, editing, and new forms of narrative, these directors use discomfort in order to invite viewers to feel like feminists and to sense the possibility of freedom.

Feminist Film Studies is a readable, yet comprehensive textbook for introductory classes in feminist film theory and criticism. Karen Hollinger provides an accessible overview of women’s representation and involvement in film, complemented by analyses of key texts that illustrate major topics in the field. Key areas include: a brief history of the development of feminist film theory the theorization of the male gaze and the female spectator women in genre films and literary adaptations the female biopic feminism and avant-garde and documentary film women as auteurs lesbian representation women in Third Cinema. Each chapter includes a "Films in Focus" section, which analyzes key texts related to the chapter’s major topic, including examples from classical Hollywood, world cinema, and the contemporary period. This book provides students in both film and gender/women’s studies with a clear introduction to the field of feminist film theory and criticism.

Gender studies has maintained its status as a heavily researched field. However, women and their role in cinema is a vastly understudied topic that deals with various aspects of feminism and sexism. The function of women in the film industry has evolved over time and proven to be an interesting area of research regarding the transition from sexual icons to respected professionals. Feminism is a widely researched subject, yet its specific application within cinema is an area that has yet to be studied. International Perspectives on Feminism and Sexism in the Film Industry is an essential reference source that examines the representation of women in cinema and provides a feminist approach to various aspects of the film industry including labor, production, and the cultural impact of women in motion pictures. Featuring research on topics such as violence against women, feminist film theory, and psychoanalysis, this book is ideally designed for directors, industry professionals, writers, screenwriters, activists, professors, students, administrators, and researchers in fields that include film studies, gender studies, mass media, and communications.

Documentary and feminist film studies have long been separate or parallel universes that need to converse or collide. The essays in this volume, written by prominent scholars and filmmakers, demonstrate the challenges that feminist perspectives pose for documentary theory, history, and practice. They also show how fuller attention to documentary enriches and complicates feminist theory, especially regarding the relationship between gender and sexuality, race and ethnicity, class and nation. Feminism and Documentary begins with a substantial historical introduction that highlights several of the specific areas that contributors address: debates over realism, the relationship between filmmaker and subject, historical thinking about documentary and thinking about the historical documentary, biography and autobiography, and the use of psychoanalysis. Other essays, most of which appear here for the first time, range from broad overviews to close analyses of particular films and videos and from discussions of well-known works such as Roger and Me and Don't Look Back to lesser known texts that might revise the canon. The collection includes an extensive filmography and videography with useful distribution information and a bibliography of work in this neglected area of scholarship. Lucid, sophisticated, and eye-opening, this book will galvanize documentary studies and demonstrate the need for women's and cultural studies to grapple with visual media.

First published in 1988. Feminism and Film Theory traces the major issues in feminist film theory as they have evolved over the last decade. Comprised of essays that are classics of this intellectually sophisticated area of cultural studies, Feminism and Film Theory makes available much sought after essays that are often difficult to find. Empha­sizing the polemical challenge of feminism to film theory, this anthology forces us to reconsider film theory's most basic ideas about genre, narrative, image, spec­tatorship, and audience. The essays offer a model for a politically engaged critique of contemporary thought. Feminism and Film Theory will be of great interest to students and scholars concerned with film, critical theory, art and media, cultural studies, or feminism.

A Feminist Reader in Early Cinema marks a new era of feminist film scholarship. The twenty essays collected here demonstrate how feminist historiographies at once alter and enrich ongoing debates over visuality and identification, authorship, stardom, and nationalist ideologies in cinema and media studies. Drawing extensively on archival research, the collection yields startling accounts of women's multiple roles as early producers, directors, writers, stars, and viewers. It also engages urgent questions about cinema's capacity for presenting a stable visual field, often at the expense of racially, sexually, or class-marked bodies. While fostering new ways of thinking about film history, A Feminist Reader in Early Cinema illuminates the many questions that the concept of "early cinema" itself raises about the relation of gender to modernism, representation, and technologies of the body. The contributors bring a number of disciplinary frameworks to bear, including not only film studies but also postcolonial studies, dance scholarship, literary analysis, philosophies of the body, and theories regarding modernism and postmodernism. Reflecting the stimulating diversity of early cinematic styles, technologies, and narrative forms, essays address a range of topics—from the dangerous sexuality of the urban flâneuse to the childlike femininity exemplified by Mary Pickford, from the Shanghai film industry to Italian diva films—looking along the way at birth-control sensation films, French crime serials, "war actualities," and the stylistic influence of art deco. Recurring throughout the volume is the protean figure of the New Woman, alternately garbed as childish tomboy, athletic star, enigmatic vamp, languid diva, working girl, kinetic flapper, and primitive exotic. Contributors. Constance Balides, Jennifer M. Bean, Kristine Butler, Mary Ann Doane, Lucy Fischer, Jane Gaines, Amelie Hastie, Sumiko Higashi, Lori Landay, Anne Morey, Diane Negra, Catherine Russell, Siobhan B. Somerville, Shelley Stamp, Gaylyn Studlar, Angela Dalle Vacche, Radha Vatsal, Kristen Whissel, Patricia White, Zhang Zhen

Feminism at the Movies: Understanding Gender in Contemporary Popular Cinema examines the way that contemporary film reflects today’s changing gender roles. The book offers a comprehensive overview of the central issues in feminist film criticism with analyses of over twenty popular contemporary films across a range of genres, such as chick flicks, teen pics, hommecoms, horror, action adventure, indie flicks, and women lawyer films. Contributors explore issues of femininity as well as masculinity, reflecting on the interface of popular cinema with gendered realities and feminist ideas. Topics include the gendered political economy of cinema, the female director as auteur, postfeminist fatherhood, consumer culture, depictions of professional women, transgender, sexuality, gendered violence, and the intersections of gender, race, and ethnic identities. The volume contains essays by following contributors: Taunya Lovell Banks, Heather Brook, Mridula Nath Chakraborty, Michael DeAngelis, Barry Keith Grant, Kelly Kessler, Hannah Hamad, Christina Lane (with Nicole Richter), JaneMaree Maher, David Hansen-Miller (with Rosalind Gill), Gary Needham, Sarah Projansky, Hilary Radner, Rob Schaap, Yael D Sherman, Michele Shreiber, Janet Staiger, Peter Stapleton, Rebecca Stringer, Yvonne Tasker, and Ewa Ziarek.

Examines a range of media from paintings and family photography, through to opera, film and TV to novels and poetry, and challenges the traditional boundaries between the creative and the critical.