Documentary and feminist film studies have long been separate or parallel universes that need to converse or collide. The essays in this volume, written by prominent scholars and filmmakers, demonstrate the challenges that feminist perspectives pose for documentary theory, history, and practice. They also show how fuller attention to documentary enriches and complicates feminist theory, especially regarding the relationship between gender and sexuality, race and ethnicity, class and nation. Feminism and Documentary begins with a substantial historical introduction that highlights several of the specific areas that contributors address: debates over realism, the relationship between filmmaker and subject, historical thinking about documentary and thinking about the historical documentary, biography and autobiography, and the use of psychoanalysis. Other essays, most of which appear here for the first time, range from broad overviews to close analyses of particular films and videos and from discussions of well-known works such as Roger and Me and Don't Look Back to lesser known texts that might revise the canon. The collection includes an extensive filmography and videography with useful distribution information and a bibliography of work in this neglected area of scholarship. Lucid, sophisticated, and eye-opening, this book will galvanize documentary studies and demonstrate the need for women's and cultural studies to grapple with visual media.

This text permits the original work of radical feminists to speak for itself. Comprised of pivotal documents written by US radical feminists, the book contains both unpublished and previously published material.

"This anthology makes it abundantly clear that feminist film criticism is flourishing and has developed dramatically since its inception in the early 1970s." —Journal of Aesthetics and Art Criticism Erens brings together a wide variety of writings and methodologies by U.S. and British feminist film scholars. The twenty-seven essays represent some of the most influential work on Hollywood film, women's cinema, and documentary filmmaking to appear during the past decade and beyond. Contributors include Lucie Arbuthnot, Linda Artel, Pam Cook, Teresa de Lauretis, Mary Ann Doane, Elizabeth Ellsworth, Lucy Fischer, Jane Gaines, Mary C. Gentile, Bette Gordon, Florence Jacobowitz, Claire Johnston, E. Ann Kaplan, Annette Kuhn, Julia Lesage, Judith Mayne, Sonya Michel, Tania Modleski, Laura Mulvey, B. Ruby Rich, Gail Seneca, Kaja Silverman, Lori Spring, Jackie Stacey, Maureen Turim, Diane Waldman, Susan Wengraf, Linda Williams, and Robin Wood.

This comprehensive textbook provides an accessible overview of the field of women and film, complemented by an analyses of key texts that illustrate major topics in the field. The text covers a wide range of areas in which women's representation and involvement in film are paramount issues.

This is the first study to apply a broad range of theory to contemporary film. With dazzling insight and critical aplomb Maggie Humm highlights and explains feminist issues and offers a fascinating array of original film analyses.

This anthology of female experience in America, draws on the letters, diaries, speeches, and biographies of women from Colonial days to the early days of the women's movement. There are chapters on childhood, marriage, motherhood, single life, housewifery, old age and death.

An introduction to feminist film theory as a discourse from the early seventies to the present. McCabe traces the broad ranging theories produced by feminist film scholarship, from formalist readings and psychoanalytical approaches to debates initiated by cultural studies, race and queer theory.

Documentary and feminist film studies have long been separate or parallel universes that need to converse or collide. The essays in this volume, written by prominent scholars and filmmakers, demonstrate the challenges that feminist perspectives pose for documentary theory, history, and practice. They also show how fuller attention to documentary enriches and complicates feminist theory, especially regarding the relationship between gender and sexuality, race and ethnicity, class, and nation. Feminism and Documentary begins with a substantial historical introduction that highlights several of the specific areas that contributors address: debates over realism, the relationship between filmmaker and subject, historical thinking about documentary and thinking about the historical documentary, biography and autobiography, and the use of psychoanalysis. Other essays, most of which appear here for the first time, range from broad overviews to close analyses of particular films and videos and from discussions of well-known works such as Roger and Me and Don't Look Back to lesser known texts that might revise the canon. The collection includes an extensive filmography and videography with useful distribution information and a bibliography of work in this neglected area of scholarship. Lucid, sophisticated, and eye-opening, this book will galvanize documentary studies and demonstrate the need for women's and cultural studies to grapple with visual media. what cu.

Intersectional, intergenerational, and international perspectives on nonfiction filmmaking by women, generously illustrated, with film stills and other images. This book offers intersectional, intergenerational, and international perspectives on nonfiction film- and videomaking by and about women, examining practices that range from activist documentaries to avant-garde experiments. Concentrating primarily on the period between the 1970s and 1990s, the contributions revisit major figures, contexts, and debates across a polycentric, global geography. They explore how the moving image has been a crucial terrain of feminist struggle—a way of not only picturing the world but remaking it. The contributors consider key decolonial filmmakers, including Trinh T. Minh-ha and Sarah Maldoror; explore collectively produced films with ties to women’s liberation movements in different countries; and investigate the cinematic expressions of tensions and alliances between feminism and anti-imperialist struggles. They grapple with the need for a broader more inclusive definition of the term “feminism”; meditate on the figure of the grandmother; reflect on realist aesthetics; and ask what a feminist film historiography might look like. The book, generously illustrated with film stills and other images, many in color, offers ten original texts, two conversations, and eight short essays composed in response to historical texts written by filmmakers. The historical texts, half of which are published in English for the first time, appear alongside the essays. Contributors Helena Amiradżibi, Madeleine Bernstorff, Teresa Castro, Counter Encounters (Laura Huertas Millán, Onyeka Igwe, Rachael Rakes), Ayanna Dozier, Forough Farrokhzad, Safi Faye, Devika Girish, Elena Gorfinkel, Haneda Sumiko, Shai Heredia, Juliet Jacques, Sarah Keller, Nzingha Kendall, Julia Lesage, Beatrice Loayza, Janaína Oliveira, Lakshmi Padmanabhan, Yasmina Price, Elizabeth Ramírez-Soto, Pooja Rangan, Lis Rhodes, Sara Saljoughi, Rasha Salti, Isabel Seguí, Chick Strand, Monika Talarczyk, Trinh T. Minh-ha, Françoise Vergès, Claudia von Alemann, Mitsuyo Wada-Marciano, Shilyh Warren, Giovanna Zapperi