No online description is currently available. If you would like to receive information about this title, please email Routledge at info@routledge-ny.com First Published in 1988. Routledge is an imprint of Taylor & Francis, an informa company.
No online description is currently available. If you would like to receive information about this title, please email Routledge at info@routledge-ny.comFirst Published in 1988. Routledge is an imprint of Taylor & Francis, an informa company.
Constance Penley teaches film history and theory at the University of Rochester and is co-editor of Camera Obscura: A journal of Feminism and Film Theory. She 1s the author of The Future of an Illusion: Film, Feminism, and Psychoanalysis.
Inhaltsangabe
Chapter 1 Introduction The Lady Doesn t Vanish: Feminism and Film Theory, Constance Penley; Chapter 2 The Place of Woman in the Cinema of Raoul Walsh, Pam Cook, Claire Johnston; Chapter 3 Dorothy Arzner: Critical Strategies, Claire Johnston; Chapter 4 Approaching the Work of Dorothy Arzner, Pam Cook; Chapter 5 Visual Pleasure and Narrative Cinema, Laura Mulvey; Chapter 6 Afterthoughts on ;Visual Pleasure and Narrative Cinemä inspired by Duel in the Sun[Laura Mulvey; Chapter 7 Rereading the Work of Claire Johnston, Janet Bergstrom; Chapter 8 Feminine Discourse in Christopher Strong[Jacquelyn Suter; Chapter 9 The Popular Film as a Progressive Text a Discussion of Coma[Elizabeth Cowie; Chapter 10 Paranoia and the Film System, Jacqueline Rose; Chapter 11 Enunciation and Sexual Difference, Janet Bergstrom; Chapter 12 Alternation, Segmentation, Hypnosis: Interview with Raymond Bellour An Excerpt, Janet Bergstrom; Chapter 13 Caughtand Rebecca:The Inscription of Femininity as Absence, Mary Ann Doane; Chapter 14 Woman s Stake: Filming the Female Body, Mary Ann Doane; Chapter 15 India Song/Son nom de Venise dans Calcutta désert:The Compulsion to Repeat, Joan Copjec; Chapter 16 The Cinema of Lol V. Stein, Elisabeth Lyon;
Chapter 1 Introduction The Lady Doesn t Vanish: Feminism and Film Theory, Constance Penley; Chapter 2 The Place of Woman in the Cinema of Raoul Walsh, Pam Cook, Claire Johnston; Chapter 3 Dorothy Arzner: Critical Strategies, Claire Johnston; Chapter 4 Approaching the Work of Dorothy Arzner, Pam Cook; Chapter 5 Visual Pleasure and Narrative Cinema, Laura Mulvey; Chapter 6 Afterthoughts on ;Visual Pleasure and Narrative Cinemä inspired by Duel in the Sun[Laura Mulvey; Chapter 7 Rereading the Work of Claire Johnston, Janet Bergstrom; Chapter 8 Feminine Discourse in Christopher Strong[Jacquelyn Suter; Chapter 9 The Popular Film as a Progressive Text a Discussion of Coma[Elizabeth Cowie; Chapter 10 Paranoia and the Film System, Jacqueline Rose; Chapter 11 Enunciation and Sexual Difference, Janet Bergstrom; Chapter 12 Alternation, Segmentation, Hypnosis: Interview with Raymond Bellour An Excerpt, Janet Bergstrom; Chapter 13 Caughtand Rebecca:The Inscription of Femininity as Absence, Mary Ann Doane; Chapter 14 Woman s Stake: Filming the Female Body, Mary Ann Doane; Chapter 15 India Song/Son nom de Venise dans Calcutta désert:The Compulsion to Repeat, Joan Copjec; Chapter 16 The Cinema of Lol V. Stein, Elisabeth Lyon;
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