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Situating the Feminist Gaze and Spectatorship in Postwar Cinema (Hardcover, Unabridged edition)
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Situating the Feminist Gaze and Spectatorship in Postwar Cinema (Hardcover, Unabridged edition)
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Marcelline Block's 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 Agnes Varda's 2007
installation at the Pantheon to the post-Soviet Russian filmmakers
Aleksei Balabanov and Valerii Todorovskii; from Quentin Tarantino's
Death Proof to Sofia Coppola's postfeminist trilogy; from Chantal
Akerman's "transhistorical, transgressive and transgendered gaze"
to the "quantum gaze" in Steven Spielberg's Jurassic Park; from
Hitchcock's "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 editor's 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 Rabate's brilliant essay,
"Mulvey was the First..."
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