This volume offers readers a comprehensive survey of the varied contributions feminist scholars have been making to film study over the past two decades. In its scope, "Multiple Voices in Feminist Film Criticism" presents the range of theoretical, critical, and educational directions open to feminist students of film, and encourages readers to participate in assessing and shaping the critical context in which films are produced and received. The editors have included a variety of perspectives informed by psychoanalytic, linguistic, historical, Marxist, textual, and postcolonial discourses. Along with highlighting the diversity of feminist film scholarship, this pluralist approach recognizes differences among women and is attentive to issues of race, class, nationality, ethnicity, and sexuality. Combining original and previously published essays, this work includes re-assessments of individual films, of genres and cycles, of narrative and filmic conventions, and of spectator positioning and response.
In addition to this extensive collection of theory and criticism, the editors have added course files that explore the rationale for feminist film courses and show how films and critical readings can be presented in a meaningful way.
Part I: Perspectives in the name of feminist film criticism, Ruby Rich; feminist film theory and criticism, Judith Mayne; feminism and film history, Patrice Petro; the problem of sexual difference and identity - psychoanalysis and feminist film theory, Janet Walker; re-reading psychoanalysis for feminist film studies, Jackie Byars; image and voice - approaches to Marxist-feminist criticism, Christine Gledhill; narrative is narrative - so what is new?, Lisa Cartwright and Nina Fonoroff; rethinking women's cinema - aesthetics and feminist theory, Teresa de Lauretis; Bakhtin, language, and women's documentary film-making, Janice Welsch; white privilege and looking relations - race and gender in feminist film theory, Jane Gaines; the politics of film canons, Janet Staiger. Part II: Practice the awful truth, Diane Carson; the marrying kind - working-class courtship and marriage in post-World War II films. (part contents)