Precursor: River of Grass

2018 ◽  
Author(s):  
E. Dawn Hall
Keyword(s):  
Gender Role ◽  
Film Theory ◽  
Environmental Concerns ◽  
Close Reading ◽  
Film Production ◽  
Male Gaze ◽  
Feature Film ◽  
Feminist Film Theory ◽  
Feminist Film ◽  
And Gender

This chapter provides an overview of River of Grass, Riechardt’s first feature film, production details via interviews, a close reading of the film with applications of Marxist-Feminist film theory, and an exploration of issues ranging from environmental concerns to the negation of heterosexual romance in a road movie genre. In contrast with her other features, River of Grass’s more overt feminist and experimental themes and gender role reversals align the film within an older feminist counter-cinematic tradition. Reichardt addresses theoretical film concepts such as the “male gaze” by emphasizing the female look and employs Godardian techniques to remind viewers they are watching a construction of reality.

scholarly journals Introduction: Gender, Space, and Affects in Film

2020 ◽  
pp. 1-35
Author(s):  
Maud Ceuterick
Keyword(s):  
Film Theory ◽  
Affect Theory ◽  
Space Time ◽  
Feminist Film Theory ◽  
Negative Affects ◽  
The World ◽  
Feminist Film ◽  
Gender Space ◽  
And Gender ◽  
The Way

Abstract The way mobility and gender are perceived and analysed in the cinema needs to change. As this chapter retraces the scholarship on gender and space, it draws attention to the binaries, starting with the figure of the flâneur, that have portrayed women as being restricted in their movement and in their wilfulness. A transformation of women’s spatial imaginaries beyond patriarchal boundaries requires the consideration of space as fluid, practised, and affective rather than conceived and fixed. Placing feminist geographer Doreen Massey’s concepts of space-time and power-geometries in dialogue with feminist film theory and affect theory shows how cinema may act as a ‘way of thinking’ towards the world and contribute to transforming negative affects into productive forces, as advocated by Rosi Braidotti.

Peeping Tom as a proto-slasher

2021 ◽  
pp. 43-60
Author(s):  
Kiri Bloom Walden
Keyword(s):  
Film Theory ◽  
Point Of View ◽  
Horror Films ◽  
Male Gaze ◽  
Original Script ◽  
Feminist Film Theory ◽  
Horror Genre ◽  
History Of ◽  
Feminist Film

We explore the film in the wider context of the history of the Horror genre. This chapter looks at the idea that Peeping Tom can be seen as a proto-Slasher. Looking specifically at the Cinematography and use of the ‘killer’s Point of View’ shot we see how Peeping Tom has also gone on to influence later Horror films. This chapter includes analysis of camera technique and elements of the original script. We look at the film in relation to film theory, especially feminist film theory which has developed in relation to the act of looking and the role of the ‘male gaze’ in Horror films.

The Vulnerable Spectator

2018 ◽  
Vol 72 (1) ◽  
pp. 58-63
Author(s):  
Amelie Hastie
Keyword(s):  
Film Theory ◽  
Film Production ◽  
Martin Scorsese ◽  
Feminist Film Theory ◽  
History Of ◽  
Feminist Film

This entry of the “Vulnerable Spectator” column draws upon Jennifer Fox's autobiographical film The Tale (2018), which struggles with the filmmaker's memories of the 1970s, in order to reconsider the 1974 film Alice Doesn't Live Here Anymore (dir. Martin Scorsese). Situating Alice within the history of women's contributions to US commercial film production and feminist film theory, Hastie argues both for a recognition of Ellen Burstyn's authorial role in regard to the film and for a more expansive theoretical and historiographic practice in relation to the era. This column kicks off a series of VS columns that will revisit U.S. films of the 1970s in order to understand their historical, theoretical, and contemporary relevance.

scholarly journals Technologies of Age: The Intersection of Feminist Film Theory and Aging Studies

2020 ◽  
Vol 11 (2) ◽  
pp. 251-262
Author(s):  
Raquel Medina Bañón ◽  
Barbara Zecchi
Keyword(s):  
Film Industry ◽  
Film Theory ◽  
Feminist Film Theory ◽  
Binary Approach ◽  
Aging Studies ◽  
Female Aging ◽  
Feminist Film ◽  
Film Productions ◽  
And Gender ◽  
Theoretical Paradigms

Aging studies is a relatively new discipline, and its intersection with feminist film theory can lead to fundamental methodological and theoretical rethinking of the notion of cinema as a powerful technology of age. This essay provides an account of the ageism that permeates Western societies vis-à-vis the place of aging and gender in visual culture. In light of contemporary feminist conceptualizations of aging and aging narratives, this essay aims to propose possible new directions that cinema and feminist film theory can take as part of a new epistemological framework. It also explores new theoretical paradigms from an intersectional perspective aimed at deconstructing ageism in the film industry. Finally, by focusing on female aging narratives in several non-mainstream film productions, this essay advocates moving away from the binary approach of aging as either decline or success, and it suggests new, affirmative ways of looking at aging bodies, and of understanding old age.

Feminist Film Theory and Cléo de 5 à 7 by Hilary Neroni

2017 ◽  
Vol 90 (3) ◽  
pp. 241-242
Author(s):  
Mariah Devereux Herbeck
Keyword(s):  
Film Theory ◽  
Feminist Film Theory ◽  
Feminist Film
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