DOCSLIB.ORG

Feminisms 1..277

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Feminisms 1..277 Feminisms The Key Debates Mutations and Appropriations in European Film Studies Series Editors Ian Christie, Dominique Chateau, Annie van den Oever Feminisms Diversity, Difference, and Multiplicity in Contemporary Film Cultures Edited by Laura Mulvey and Anna Backman Rogers Amsterdam University Press The publication of this book is made possible by grants from the Netherlands Organisation for Scientific Research (NWO). Cover design: Neon, design and communications | Sabine Mannel Lay-out: japes, Amsterdam Amsterdam University Press English-language titles are distributed in the US and Canada by the University of Chicago Press. isbn 978 90 8964 676 7 e-isbn 978 90 4852 363 4 doi 10.5117/9789089646767 nur 670 © L. Mulvey, A. Backman Rogers / Amsterdam University Press B.V., Amsterdam 2015 All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of both the copyright owner and the author of the book. Contents Editorial 9 Preface 10 Acknowledgments 15 Introduction: 1970s Feminist Film Theory and the Obsolescent Object 17 Laura Mulvey PART I New Perspectives: Images and the Female Body Disconnected Heroines, Icy Intelligence: Reframing Feminism(s) and Feminist Identities at the Borders Involving the Isolated Female TV Detective in Scandinavian-Noir 29 Janet McCabe Lena Dunham’s Girls: Can-Do Girls, Feminist Killjoys, and Women Who Make Bad Choices 44 Anna Backman Rogers Destroy Visual Pleasure: Cinema, Attention, and the Digital Female Body (Or, Angelina Jolie Is a Cyborg) 54 William Brown The Intertextual Stardom of Iris: Winslet, Dench, Murdoch, and Alzheimer’s Disease 65 Lucy Bolton PART II Theory in Contemporary Contexts Imagining Safe Space in Feminist Pornography 79 Ingrid Ryberg Uncommon Sensuality: New Queer Feminist Film/Theory 86 Sophie Mayer 5 The Promise of Touch: Turns to Affect in Feminist Film Theory 97 Anu Koivunen Sound and Feminist Modernity in Black Women’s Film Narratives 111 Geetha Ramanathan PART III History and Practice The “New” Experimentalism? Women In/And/On Film 125 Jenny Chamarette Conditions of Activism: Feminist Film Activism and the Legacy of the Second Wave 141 Leshu Torchin US Independent Women’s Cinema, Sundance Girls, and Identity Politics 149 Veronica Pravadelli PART IV Contextualizing History: New Frontiers in Feminist Journals Suddenly, One Summer: Frauen und Film since 1974 161 Annette Brauerhoch (Re)Inventing Camera Obscura 169 Amelie Hastie, Lynne Joyrich, Patricia White, Sharon Willis PART V Discussions: Dialoguing Difference and Extremity in Contemporary Cinemas Film, Corporeality, Transgressive Cinema: A Feminist Perspective 187 Martine Beugnet and Laura Mulvey Disconnection Notices: Interview with Miranda July 203 Miranda July and Anna Backman Rogers 6 contents Notes 209 General Bibliography 239 Notes on Contributors 259 Index of Names 265 Index of Film Titles 273 contents 7 Editorial The original aim of the Key Debates series was to revisit the concepts and indeed controversies that have shaped the field of film studies. Our intention was two- fold: to clarify what was initially at stake in the founding texts and also to clarify lines of transmission and re-interpretation in what remains a hybrid field of study, which has “appropriated” and thus modified much of what it uses. The four volumes published to date take different approaches to this central mission, reviewing how early film theory adopted and developed literary theories of “strangeness” (ostrannennie); shifting concepts of subjectivity engendered by film; the variety of ways that film’s audiences have been conceived; and the per- sistence of debate around film as a technology. From the outset, we were conscious of another debate that played a vital part in shaping both modern feminist scholarship and film theory, which owed much to Laura Mulvey’s seminal essay, “Visual Pleasure and Narrative Cinema,” pub- lished in Screen 16/3 in 1975. It therefore seems highly appropriate that this sec- ond phase of the Key Debates series should start with a volume that takes stock of how nearly half a century of debate has surrounded and continues to link con- cepts of feminism and film theory. We are even more delighted that this is co- edited by Laura Mulvey, as one of the group who originally conceived the series, in dialogue with Anna Backman Rogers. When we launched this book series in 2010, after a phase of preparation which began in 2006, we felt that as scholarship in the history of film theory developed, there was a need to revisit many long-standing assumptions and particularly so in light of the changes in media devices and viewing practices. Further volumes are now in preparation, as we recognize that pervasive digital media have not made film, or the concepts and debates that it gives rise to, redundant. On the contrary, there seems more need than ever to clarify and refocus fundamental issues such as screen experience and narrativity in the light of our contemporary media environment. London / Paris / Amsterdam / Groningen Ian Christie, Dominique Chateau, Annie van den Oever 9 Preface We are living in exciting but highly challenging and troubling times. 2014 was the year in which Time magazine included the word “feminism” in a poll of irri- tating words readers might like to have banned; artist Allen Jones was given a major retrospective at the Royal Academy; Australian Prime Minister Tony Abbott dismissed a campaign against gendered children’s toys as egregious “political correctness”;1 Zoe Quinn and Anita Sarkeesian had their lives threatened and were forced out of their homes during the Gamergate scandal; students at Columbia University carried a mattress around campus in a show of support for victims of rape and sexual violence who were being dismissed and ignored; David Fincher’s Gone Girl was released to critical acclaim and feminist opprobrium over its use of rape as a mere narrative trope; comparatively scant attention was given by the media to sexual crimes perpetrated against women in areas of the Middle East and Iraq controlled by ISIS; the Hollaback video went viral but was met with backlash; actresses Shailene Woodley and Salma Hayek publicly re- jected the word feminist and the “Women Against Feminism” group was formed; the apologist hashtag “#NOTALLMEN” was created in response to the mass kill- ing spree of 22 year-old Elliot Rodger (a follower of the Men’s Rights movement) in Isla Vista, California; and Beyoncé took to the stage for a seventeen-minute set at the MTV Video Music Awards, which she performed in front of the word Feminist (causing bell hooks to denounce her as “an anti-feminist, that is, a terrorist” and Roxane Gay to defend her as “incredibly empowered. She is sexual, yes – but on her own terms”).2 And yet it was also the year in which Malala Yousafzai received the Nobel Peace Prize; Norway put in place legislation to ensure that fifty percent of every execu- tive board is female – and Germany, Iceland, Finland, Spain, France, and the Netherlands decided to follow suit; a report backed by UN Women on gender in international cinema was published; the Swedish Feminist Initiative party gained more traction; Rebecca Solnit, who coined the term “mansplaining,” published her book Men Explain Things to Me;3 members of the band Pussy Riot were filmed in conversation with feminist scholars Rosi Braidotti and Judith Butler; physicist Fabiola Gianotti was appointed the Director General of the CERN particle phy- sics laboratory; the pro-choice film about abortion Obvious Child was named independent film of the year and awarded best directorial debut by the National Board of Review; the launch of UN Women’s HeForShe campaign gained public attention due to a rousing speech given by the twenty-four-year-old actress 10 Emma Watson; film director Jane Campion was head of the jury at the Cannes Film Festival; the African Women in Cinema blog was created as a symbol of unity between African female filmmakers; actor Samantha Morton declared soli- darity with survivors of abuse across the UK in the wake of Operation Yewtree and the revelation of long-standing sexual abuse crimes by prominent public figures; and the end of 2014 also saw the publication of Jacqueline Rose’s Women in Dark Times,4 which calls for a radical and newly engaged form of feminism. When we started planning the contents of this book, we decided to produce a collection of essays that spoke to the manifold ways in which feminism is made manifest as both theory and practice in the field of film. In reflecting on progress or (the lack thereof) since the second wave of feminism, on current issues, and on what the future may hold, we realized that we would have to draw upon a diverse range of scholars for whom the term feminism might have different meanings. This book speaks to that difference and plurality of perspective and rejects a reductive form or definition of feminism. To reflect this, we have com- missioned essays that address historical debate as well as contemporary trends, that draw upon new and emerging theoretical models and, in some cases, exam- ine controversial debates such as pornography. Our aim, therefore, is not to limit the scope of feminism but to illuminate the number of fruitful ways in which, as both film theory and praxis, it has informed the recent past and continues to be a vital framework for viewing contemporary media phenomena. In choosing the title Feminisms, our aim is to acknowledge the sheer scope of feminism as a phi- losophy and as a form of activism that works in multiple and complex ways with- in modes of representation and expression.
Load more

Recommended publications
  • Review: Black Feminist Cultural Criticism by Jacqueline Bobo
    Masthead Logo Smith ScholarWorks Africana Studies: Faculty Publications Africana Studies Summer 2005 Review: Black Feminist Cultural Criticism by Jacqueline Bobo: Feminism Is for Everybody: Passionate Politics by bell hooks: Feminist Theory: From Margin to Center by bell hooks Daphne Lamothe Smith College, [email protected] Follow this and additional works at: https://scholarworks.smith.edu/afr_facpubs Part of the Africana Studies Commons Recommended Citation Lamothe, Daphne, "Review: Black Feminist Cultural Criticism by Jacqueline Bobo: Feminism Is for Everybody: Passionate Politics by bell hooks: Feminist Theory: From Margin to Center by bell hooks" (2005). Africana Studies: Faculty Publications, Smith College, Northampton, MA. https://scholarworks.smith.edu/afr_facpubs/6 This Book Review has been accepted for inclusion in Africana Studies: Faculty Publications by an authorized administrator of Smith ScholarWorks. For more information, please contact [email protected] Review: Book Reviews Reviewed Work(s): Black Feminist Cultural Criticism by Jacqueline Bobo: Feminism Is for Everybody: Passionate Politics by bell hooks: Feminist Theory: From Margin to Center by bell hooks Review by: Daphne Lamothe Source: Signs , Vol. 30, No. 4, New Feminist Approaches to Social Science MethodologiesSpecial Issue EditorsSandra Harding and Kathryn Norberg (Summer 2005), pp. 2265-2270 Published by: The University of Chicago Press Stable URL: https://www.jstor.org/stable/10.1086/429809 JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected].
    [Show full text]
  • Girlhood Reimagined: Representations of Girlhood in the Films of Hayao Miyazaki
    AN ABSTRACT OF THE THESIS OF Karissa Sabine for the degree of Master of Arts in Women, Gender, and Sexuality Studies presented on June 8, 2017. Title: Girlhood Reimagined: Representations of Girlhood in the Films of Hayao Miyazaki. Abstract approved: ______________________________________________________ Bradley Boovy Despite the now common usage of the term “girl”, there has been little call for pause and deeper analysis into what we actually mean when we use this term. In particular, animated film provides a wide scope of media texts that claim to focus on girlhood; but how do we in fact know girlhood? How is girlhood constructed? With these questions in mind, I use feminist textual analysis to examine three films— Nausicaä of the Valley of the Wind (1984), Kiki’s Delivery Service (1989), and Princess Mononoke (1997)—by acclaimed Japanese animator Hayao Miyazaki in which girl characters and girlhood play prominently into the film's construction as a whole. In particular, I examine how Miyazaki constructs girlhood through his storylines and characters and how these characters (i.e. girls) are then positioned in relation to three specific aspects of their representation: their use of clothing, their relationships to other characters, and their freedom of movement relative to other characters. In doing so, I deconstruct more traditionally held notions of girlhood in which girls are seen as dependent and lacking autonomy. Through Miyazaki’s work, I instead offer up a counternarrative of girlhood in which the very category of gender, and indeed “girls”, are destabilized. In doing so, I hope to provide a wider breadth of individuals the chance to see themselves represented in animated film in both significant and meaningful ways.
    [Show full text]
  • BRIDGING MEDIA-SPECIFIC APPROACHES the Value of Feminist Television Criticism’S Synthetic Approach
    BRIDGING MEDIA-SPECIFIC APPROACHES The value of feminist television criticism’s synthetic approach Amanda D. Lotz and Sharon Marie Ross Introduction Feminist study of media encompasses a variety of media forms, each of which possesses a distinct set of issues determined by the medium and how it is used, as well as by the variant theoretical and methodological traditions through which scholars have studied the medium. US feminist film and television criticism have maintained distinct methodological and theoretical emphases—yet the two areas of study are closely related. For example, feminist television studies developed from a synthesis of theoretical and methodological work in a range of fields, including feminist film criticism and theory, and remains at once connected to and distinct from feminist approaches to studying film. The commercial dominance of the US television system required that feminist television critics explore the “popular” to a degree less evident in US feminist film criticism, although feminist film critics have examined mainstream film texts with tools similar to those used by feminist television critics in other national contexts (Joanne Hollows 2000; Jacinda Read 2000; Yvonne Tasker 1993, 1998). Understanding the relationship between varied areas of feminist media scholar- ship—their necessary divergences and their commonalities—aids in developing increasingly sophisticated theory and in responding to technological, socio-cultural, and theoretical changes. The transition to digital formats and hybrid delivery systems has begun to alter traditions of both “film” and “television,” while postfeminist approaches have reinvigorated feminist media debates. Additionally, new media have established a place in popular use and academic criticism. This context makes it more crucial than ever to address the reasons for medium-specific feminist approaches as well as to consider what can be gained through shared conversations.
    [Show full text]
  • Interview with Laura Mulvey Gender, Gaze and Technology in Film Culture
    See discussions, stats, and author profiles for this publication at: https://www.researchgate.net/publication/258192310 Interview With Laura Mulvey: Gender, Gaze and Technology in Film Culture Article in Theory Culture & Society · September 2011 DOI: 10.1177/0263276411398278 CITATIONS READS 32 8,223 1 author: Roberta Sassatelli University of Milan 62 PUBLICATIONS 1,704 CITATIONS SEE PROFILE Some of the authors of this publication are also working on these related projects: Sharing economy, Home making and Hospitality. AirBnb among the Middle-Classes in Milan View project Food Consumption, Hospitality and Gender Among Italian Middle Classed View project All content following this page was uploaded by Roberta Sassatelli on 26 January 2016. The user has requested enhancement of the downloaded file. Interview with Laura Mulvey Gender, Gaze and Technology in Film Culture Roberta Sassatelli Abstract This conversation between Laura Mulvey and Roberta Sassatelli offers a his- torical reconstruction of Mulvey’s work, from her famous essay ‘Visual Pleasure and Narrative Cinema’ to her most recent reflections on male gaze, film technology and visual culture. The conversation initially deals with the socio-cultural context in which the ‘Visual Pleasure ...’ essay was produced by outlining a number of possible theoretical parallelisms with other scholars, from Foucault to Barthes to Goffman. Then, on the basis of Mulvey’s latest book, Death 24Â a Second, and of a variety of contemporary examples, the emphasis is on the relative shift in Mulvey’s work from gender to time and visual technology. Finally, the conversation focuses on the con- cept of ‘gendered scopic regime’ and the potential re-articulation of the male gaze through the technological re-direction and control of the visual.
    [Show full text]
  • Thefeminist Porn Bookintrocha
    Introduction: The Politics of Producing Pleasure CONSTANCE PENLEY, CELINE PARREÑAS SHIMIZU, MIREILLE MILLER-YOUNG, and TRISTAN TAORMINO he Feminist Porn Book is the frst collection to bring together writ- ings by feminist porn producers and feminist porn scholars to Tengage, challenge, and re-imagine pornography. As collaborating editors of this volume, we are three porn professors and one porn direc- tor who have had an energetic dialogue about feminist politics and por- nography for years. In their criticism, feminist opponents of porn cast pornography as a monolithic medium and industry and make sweep- ing generalizations about its production, its workers, its consumers, and its efects on society. Tese antiporn feminists respond to feminist por- nographers and feminist porn professors in several ways. Tey accuse us of deceiving ourselves and others about the nature of pornography; they claim we fail to look critically at any porn and hold up all porn as empowering. More typically, they simply dismiss out of hand our abil- ity or authority to make it or study it. But Te Feminist Porn Book ofers arguments, facts, and histories that cannot be summarily rejected, by providing on-the-ground and well-researched accounts of the politics of producing pleasure. Our agenda is twofold: to explore the emergence and signifcance of a thriving feminist porn movement, and to gather some of the best new feminist scholarship on pornography. By putting our voices into conversation, this book sparks new thinking about the richness and complexity of porn as a genre and an industry in a way that helps us to appreciate the work that feminists in the porn industry are doing, both in the mainstream and on its countercultural edges.
    [Show full text]
  • Turns to Affect in Feminist Film Theory 97 Anu Koivunen Sound and Feminist Modernity in Black Women’S Film Narratives 111 Geetha Ramanathan
    European Film Studies Mutations and Appropriations in THE KEY DEBATES FEMINISMS Laura Mulvey and 5 Anna Backman Rogers (eds.) Amsterdam University Press Feminisms The Key Debates Mutations and Appropriations in European Film Studies Series Editors Ian Christie, Dominique Chateau, Annie van den Oever Feminisms Diversity, Difference, and Multiplicity in Contemporary Film Cultures Edited by Laura Mulvey and Anna Backman Rogers Amsterdam University Press The publication of this book is made possible by grants from the Netherlands Organisation for Scientific Research (NWO). Cover design: Neon, design and communications | Sabine Mannel Lay-out: japes, Amsterdam Amsterdam University Press English-language titles are distributed in the US and Canada by the University of Chicago Press. isbn 978 90 8964 676 7 e-isbn 978 90 4852 363 4 doi 10.5117/9789089646767 nur 670 © L. Mulvey, A. Backman Rogers / Amsterdam University Press B.V., Amsterdam 2015 All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of both the copyright owner and the author of the book. Contents Editorial 9 Preface 10 Acknowledgments 15 Introduction: 1970s Feminist Film Theory and the Obsolescent Object 17 Laura Mulvey PART I New Perspectives: Images and the Female Body Disconnected Heroines, Icy Intelligence: Reframing Feminism(s)
    [Show full text]
  • The American Film Musical and the Place(Less)Ness of Entertainment: Cabaret’S “International Sensation” and American Identity in Crisis
    humanities Article The American Film Musical and the Place(less)ness of Entertainment: Cabaret’s “International Sensation” and American Identity in Crisis Florian Zitzelsberger English and American Literary Studies, Universität Passau, 94032 Passau, Germany; fl[email protected] Received: 20 March 2019; Accepted: 14 May 2019; Published: 19 May 2019 Abstract: This article looks at cosmopolitanism in the American film musical through the lens of the genre’s self-reflexivity. By incorporating musical numbers into its narrative, the musical mirrors the entertainment industry mise en abyme, and establishes an intrinsic link to America through the act of (cultural) performance. Drawing on Mikhail Bakhtin’s notion of the chronotope and its recent application to the genre of the musical, I read the implicitly spatial backstage/stage duality overlaying narrative and number—the musical’s dual registers—as a means of challenging representations of Americanness, nationhood, and belonging. The incongruities arising from the segmentation into dual registers, realms complying with their own rules, destabilize the narrative structure of the musical and, as such, put the semantic differences between narrative and number into critical focus. A close reading of the 1972 film Cabaret, whose narrative is set in 1931 Berlin, shows that the cosmopolitanism of the American film musical lies in this juxtaposition of non-American and American (at least connotatively) spaces and the self-reflexive interweaving of their associated registers and narrative levels. If metalepsis designates the transgression of (onto)logically separate syntactic units of film, then it also symbolically constitutes a transgression and rejection of national boundaries. In the case of Cabaret, such incongruities and transgressions eventually undermine the notion of a stable American identity, exposing the American Dream as an illusion produced by the inherent heteronormativity of the entertainment industry.
    [Show full text]
  • Women and Men in the News
    Nordic Council of Ministers TemaNord 2017:527 Women and men in the news and men in Women 2017:527 TemaNord Ved Stranden 18 DK-1061 Copenhagen K www.norden.org WOMEN AND MEN IN THE NEWS The media carry significant notions of social and cultural norms and values and have a powerful role in constructing and reinforcing gendered images. The news WOMEN AND MEN in particular has an important role in how notions of power are distributed in the society. This report presents study findings on how women and men are represented in the news in the Nordic countries, and to what extent women and IN THE NEWS men occupy the decision-making positions in the media. The survey is based on the recent findings from three cross-national research projects. These findings REPORT ON GENDER REPRESENTATION IN NORDIC NEWS CONTENT are supported by national studies. The results indicate that in all the Nordic AND THE NORDIC MEDIA INDUSTRY countries women are underrepresented in the news media both as news subjects and as sources of information. Men also dominate in higher-level decision-making positions. The report includes examples of measures used to improve the gender balance in Nordic news. Women and men in the news Report on gender representation in Nordic news content and the Nordic media industry Saga Mannila TemaNord 2017:527 Women and men in the news Report on gender representation in Nordic news content and the Nordic media industry Saga Mannila ISBN 978-92-893-4973-4 (PRINT) ISBN 978-92-893-4974-1 (PDF) ISBN 978-92-893-4975-8 (EPUB) http://dx.doi.org/10.6027/TN2017-527 TemaNord 2017:527 ISSN 0908-6692 Standard: PDF/UA-1 ISO 14289-1 © Nordic Council of Ministers 2017 Layout: NMR Print: Rosendahls Printed in Denmark Although the Nordic Council of Ministers funded this publication, the contents do not necessarily reflect its views, policies or recommendations.
    [Show full text]
  • Challenging Gender and Racial Stereotypes in Online Spaces Alternative Storytelling Among Latino/A Youth in the U.S
    Challenging Gender and Racial Stereotypes in Online Spaces Alternative Storytelling among Latino/a Youth in the U.S. Alexandra Sousa & Srividya Ramasubramanian Media play an important role in perpetuating racial and gender stereotypes that harm the self-esteem and self-concept of marginalized youth, especially for Latino/a youth in the US context. However, this article illustrates that through a participatory media and media literacy approach, media can also become part of the solution. The main aim of this article is to document Latinitas, the first digital magazine in the United States cre- ated by and for young Latinas that challenges stereotypes through participatory digital storytelling. Explored through an interview with one of Latinitas’ co-founders and press coverage about the organization, this case study sheds light on the importance of alterna- tive community-based initiatives for minority youth to redefine their identities in their own terms. The findings shed light on how to design alternative youth media programs, negotiate funding, build relationships with the surrounding community, and adapt to the changing media landscape. Such initiatives point to the importance of media literacy programs and participatory storytelling initiatives aimed at redefining youth identity and empowering youth voices. Existing research informs us that media play an important role in the formation and sus- tenance of gender stereotypes (Mazzarella, 2013), which are also culturally constructed in ways that intersect with other markers of identity and difference, such as race/ethnicity and socio-economic status (Rivera & Valdivia, 2013). One group in the United States that is particularly affected by this phenomenon, and in predominately negative ways, is young Latina women (Molina-Guzman & Valdivia, 2004; Valdivia, 2010).
    [Show full text]
  • Feminist and Queer Formations in Digital Networks
    A University of Sussex DPhil thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details Remediating politics: feminist and queer formations in digital networks Aristea Fotopoulou University of Sussex Thesis submitted September 2011 in partial fulfilment of the requirements of the degree of Doctor of Philosophy. Acknowledgements Particular thanks go to my supervisors Caroline Bassett and Kate O'Riordan for their unreserved encouragement, support and feedback. I am grateful to Olu Jenzen, Beth Mills, Russell Pearce, Polly Ruiz, Rachel Wood and Lefteris Zenerian for commenting on drafts and to Ruth Charnock and Dan Keith for proof-reading. I'd also like to thank my colleagues in the School of Media, Film and Music and especially Sarah Maddox for being so understanding; my fellows in English, Global Studies, Institute of Development Studies, and Sociology at Sussex for their companionship. I am grateful for discussions that took place in the intellectual environments of the Brighton and Sussex Sexualities Network (BSSN), the Digital Communication and Culture Section of the European Communication Research and Education Association (ECREA), the ECREA Doctoral Summer School 2009 in Estonia, the 2011 Feminist Technoscience Summer School in Lancaster University, the Feminist and Women's Studies Association (FWSA), the 18th Lesbian Lives Conference, the Ngender Doctoral seminars 2009-2011 at the University of Sussex, the Research Centre for Material Digital Culture, and the Sussex Centre for Cultural Studies.
    [Show full text]
  • DEPARTMENT of MODERN LANGUAGES and LITERATURES WOMEN FILMMAKERS Sp 3901G / Film 3311G / WS 3375G Winter 2018
    1 DEPARTMENT OF MODERN LANGUAGES AND LITERATURES WOMEN FILMMAKERS Sp 3901G / Film 3311G / WS 3375G Winter 2018 INSTRUCTOR: Dr. Constanza Burucúa - [email protected] OFFICE: AHB 3R16B OFFICE HOURS: Tuesday, 10.30 to 11.30 and Wednesday, 12.30 to 1.30 COURSE TIMETABLE Tuesday 9.30 to 10.30 – LECTURE / PRESENTATIONS AHB 1B06 Thursday 9.30 to 11.30 – TUTORIAL / CLASS DISCUSSION AHB 1B06 Screenings (voluntary): Friday 10.30 to 1.30 – AHB 3B15 AIMS OF THE COURSE This course will explore the notion of film authorship in relation to its utterances and implications when associated to the praxis of contemporary women film directors, from the early 1960s to the present. While troubling the notion of women’s cinema, its definition, limits and limitations, a wide range of case studies – films emerging from dissimilar contexts of production and reception – will be mostly read and discussed in the light of feminist approaches to questions about gender and representation. In this sense, the course will also offer a historical and critical overview of feminist scholarship within film studies and of the ongoing debates in this area of study. LEARNING OUTCOMES By the end of the course, students will be able to: 2 1. Critically reflect upon questions concerning women and film, both in terms of their involvement in production and in the processes of reception. 2. Ponder the key notions involved in the debates around, and the study of, feminist film theory, gendered representations and considerations on point of view. REQUIRED READINGS All the bibliography listed under the title of the film/s that will be screened each week is compulsory reading.
    [Show full text]
  • Stockholm Cinema Studies 11
    ACTA UNIVERSITATIS STOCKHOLMIENSIS Stockholm Cinema Studies 11 Imagining Safe Space The Politics of Queer, Feminist and Lesbian Pornography Ingrid Ryberg This is a print on demand publication distributed by Stockholm University Library www.sub.su.se First issue printed by US-AB 2012 ©Ingrid Ryberg and Acta Universitatis Stockholmiensis 2012 ISSN 1653-4859 ISBN 978-91-86071-83-7 Publisher: Acta Universitatis Stockholmiensis, Stockholm Distributor: Stockholm University Library, Sweden Printed 2012 by US-AB Cover image: Still from Phone Fuck (Ingrid Ryberg, 2009) Contents 1. Introduction ................................................................................................... 13 Research aims and questions .................................................................................... 13 Queer, feminist and lesbian porn film culture: central debates.................................... 19 Feminism and/vs. pornography ............................................................................. 20 What is queer, feminist and lesbian pornography?................................................ 25 The sexualized public sphere................................................................................ 27 Interpretive community as a key concept and theoretical framework.......................... 30 Spectatorial practices and historical context.......................................................... 33 Porn studies .......................................................................................................... 35 Embodied
    [Show full text]