Situating the Feminist Gaze and Spectatorship in Postwar Cinema

Marcelline Blocks Situating the Feminist Gaze and Spectatorship in Postwar Cinema breaks new ground in exploring feminist film theory. It is a wide-ranging collection (re)visiting important theoretical questions as well as offering close analyses of films produced in the United States, France, England, Belgium, and Russia. This anthology investigates exciting areas of research for critical inquiry into film and gender studies as well as feminist, queer, and postfeminist theories, and treats film texts from Marguerite Duras to 21st century horror films; from Agnès Vardas 2007 installation at the Panthéon to the post-Soviet Russian filmmakers Aleksei Balabanov and Valerii Todorovskii; from Quentin Tarantinos Death Proof to Sofia Coppolas postfeminist trilogy; from Chantal Akermans transhistorical, transgressive and transgendered gaze to the quantum gaze in Steven Spielbergs Jurassic Park; from Hitchcocks good-looking blondes to the career-woman-in-peril thriller, among others. According to the semiotician Marshall Blonsky of the New School University in New York, given the breadth of the editors choices, this volume makes a splendid contribution to feminist and cinematic fields, as well as cultural and media studies, postmodernism, and postfeminism. It lends readers new eyes to view canonical and other film texts. David Sterritt, chairman of the National Society of Film Critics, states that this anthology should be required reading for students and scholars, among other readers interested in the interaction of cinema with contemporary culture. Situating the Feminist Gaze and Spectatorship is prefaced by Jean-Michel Rabatés brilliant essay, Mulvey was the FirstThis title is now also translated into Italian. See more