内容

目次

Notes on Contributors; Introduction; PHASE ONE: PIONEERS AND CLASSICS:THE MODERNIST MODE; Introductory Notes; Woman's Cinema as Counter-Cinema;Visual Pleasure and Narrative Cinema; Woman as Sign; Klute 1: A ContemporaryFilm Noir and Feminist Criticism; Woman's Stake: Filming the Female Body;Male Subjectivity and Celestial Satire: It's a Wonderful Life; Is the GazeMale?; Dorothy Arzner: Critical Strategies; PHASE TWO: CRITIQUES OF PHASE ONETHEORIES: NEW METHODS; Introductory Notes; Lesbian Looks: Dorothy Arzner andFemale Authorship; The Difficulty of Difference; Masochism and the PerversePleasures of the Cinema; Pleasure, Ambivalence, Identification: Valentino andFemale Spectatorship; Masculinity as Spectacle: Reflections on Men andMainstream Cinema; Strategies of Coherence: Narrative, Cinema, FeministPoetics, Yvonne Rainer; The Orthopsychic Subject: Film Theory and theReception of Lacan; PHASE THREE: RACE, SEXUALITY, AND POSTMODERNISM INFEMINIST THEORY; Introductory Notes; Speaking Nearby; White Privilege andLooking Relations: Race and Gender in Feminist Film Theory; Racism,Representation, and Psychoanalysis; That Moment of Emergence; SexualIndifference and Lesbian Representation; PHASE FOUR: SPECTATORSHIP,ETHNICITY, AND MELODRAMA; Introductory Notes; Film and the Masquerade:Theorizing the Female Spectator; Women's Genres; Desperately SeekingDifference; The Case of the Missing Mother: Maternal Issues in Vidor's StellaDallas; 'Something Else Besides a Mother': Stella Dallas and the MaternalMelodrama; Tears and Desire: Women and Melodrama in the 'Old' Mexican Cinema;Three Men and Baby M; The Carapace that Failed: Ousame Sembene's Xala;Further Reading; Index