Routledge Companion to Cinema & Gender

Kristin Lené Hole is an Assistant Professor in the School of Film at Portland State University, USA. She is the author of Towards a Feminist Cinematic Ethics: Claire Denis, Emmanuel Levinas, and Jean-Luc Nancy (2016) and co-author (with Dijana Jelača) of Film Feminisms: A Global Introduction (2019).Dijana Jelača teaches in the Film Department at Brooklyn College, USA. She is the author of Dislocated Screen Memory: Narrating Trauma in Post-Yugoslav Cinema (2016) and co-author (with Kristin Lené Hole) of Film Feminisms: A Global Introduction (2019).E. Ann Kaplan is Distinguished Professor of English and Women’s, Gender and Sexuality Studies at Stony Brook University, USA, where she also founded and directed The Humanities Institute. She is Past President of the Society for Cinema and Media Studies. Kaplan’s pioneering research on women in film includes Women in Film: Both Sides of the Camera, Motherhood and Representation, Looking for the Other, and Feminism and Film. Her recent research focuses on trauma: see Trauma and Cinema (2004) with Ban Wang; Trauma Culture: The Politics of Terror and Loss in Media and Literature (2005); and Climate Trauma: Foreseeing the Future in Dystopian Film and Fiction (2015). Patrice Petro is Dick Wolf Director of the Carsey-Wolf Center, Professor of Film and Media Studies, and Presidential Chair in Media Studies at the University of California, Santa Barbara, USA. She is the author, editor, and co-editor of twelve books, most recently Idols of Modernity: Movie Stars of the 1920s (2010), Teaching Film (2012), and After Capitalism: Horizons of Finance, Culture, and Citizenship (2016).

• List of Figures AcknowledgementsList of Contributors IntroductionKristin Lené Hole, Dijana Jelača, E. Ann Kaplan, Patrice PetroPart IWHAT IS [FEMINIST] CINEMA?IntroductionChapter 1Classical Feminist Film Theory: Then and (Mostly) Now Patrice PetroChapter 2Postcolonial and Transnational Approaches to Film and FeminismSandra PonzanesiChapter 3Feminist Forms of Address: Mai Zetterling’s Loving CouplesLucy FischerChapter 4Sound and GenderKathleen VernonChapter 5Gender in Transit: Framing the Cinema of MigrationSumita ChakravartyChapter 6"No place for sissies": Gender, Age and Disability in HollywoodSally ChiversChapter 7Chinese Socialist Women’s Cinema: An Alternative Feminist PracticeLingzhen WangChapter 8Gender, Socialism and European Film CulturesAnikó ImreChapter 9Queer or LGBTQ+: On the Question of Inclusivity in Queer Cinema StudiesAmy BordenPart IIGENRES, MODES, STARSIntroductionChapter 10Contested Masculinities: The Action Film, the War Film, and the WesternYvonne TaskerChapter 11The Rise and Fall of the Girly Film: From the Woman’s Picture to the New Woman’s Film, the Chick Flick and the Smart-Chick FilmHilary RadnerChapter 12Moving Past the Trauma: Feminist Criticism and Transformations of the Slasher Genre Anthony HaytChapter 13Slapstick Comediennes in Silent Cinema: Women’s Laughter and the Feminist Politics of Gender in MotionMargaret HennefeldChapter 14Feminist Porn: The Politics of Producing PleasureConstance Penley, Celine Parreñas Shimizu, Mireille Miller-Young, and Tristan TaorminoChapter 15The Postmodern Story of the Femme FataleJulie GrossmanChapter 16The Documentary: Female Subjectivity and the Problem of RealismBelinda SmaillChapter 17Experimental Women FilmmakersMaureen TurimChapter 18Transnational StardomRussell MeeufPart IIIMAKING MOVIESIntroductionChapter 19Feminist and Non-Western Interrogations of Film AuthorshipPriya JaikumarChapter 20Pink Material: White Womanhood and the Colonial Imaginary in World Cinema Authorship Patricia WhiteChapter 21Women, Islam and Cinema: Gender Politics and Representation in Middle Eastern Films and BeyondEylem AtakavChapter 22African 'First Films': Gendered Authorship, Identity, and Discursive ResistanceAnne CieckoChapter 23Black Women FilmmakersJacqueline BoboChapter 24Fair and Lovely: Class, Gender, and Colorism in Bollywood Song SequencesTejaswini GantiChapter 25What Was "Women’s Work" in the Silent Film Era?Jane GainesChapter 26 Female Editors in Studio-Era Hollywood: Rethinking Feminist Frontiers and the Constraints of the ArchiveJ.E. SmythChapter 27Film Activism and Transformative Praxis: Women Make MoviesDebra ZimmermanPart IVSPECTATORSHIP, RECEPTION, PROJECTING IDENTITIESIntroductionChapter 28Psychoanalysis Outside and Beyond the GazeClaire PajaczkowskaChapter 29Embodying Spectatorship: From Phenomenology to SensationJenny ChamaretteChapter 30Deleuzian SpectatorshipFelicity ColmanChapter 31Film Reception Studies and FeminismJanet StaigerChapter 32Nollywood, Female Audience, and the Negotiating of PleasureIkechukwu ObiayaChapter 33Gender and Fandom: From Spectators to Social AudiencesKatherine E. MorrisseyChapter 34Classical Hollywood and Modernity: Gender, Style, AestheticsVeronica PravadelliChapter 35Lesbian Cinema Post-Feminism: Ageism, Difference, and DesireRachel LewisPart VTHINKING CINEMA’S FUTUREIntroductionChapter 36Revolting Aesthetics: Feminist Transnational Cinema in the USKatarzyna Marciniak Chapter 37Towards Trans CinemaEliza SteinbockChapter 38Visualizing Climate Trauma: The Cultural Work of Films Anticipating theFutureE. Ann KaplanChapter 39Eco-Cinema and GenderAlexa Weik von MossnerChapter 40Cinema, Animal Studies and the Post/Non-HumanJennifer Lynn PetersonChapter 41Class/Ornament: Cinema, New Media, Labor-Power and Performativity Erica LevinChapter 42Film Feminism, Post-Cinema and the Affective TurnDijana JelačaChapter 43Fantasy Echoes and the Future Anterior of Cinema and GenderKristin Lené Hole Index