The Routledge Companion to Cinema & Gender

Comprised of 43 innovative contributions, this companion is both an overview of, and intervention into the field of cinema and gender. The essays included here address a variety of geographical contexts, from an analysis of cinema. Islam and women and television under Eastern European socialism, to female audience reception in Nigeria, to changing class and race norms in Bollywood dance sequences. A special focus is on women directors in a global context that includes films and filmmakers from Asia, Africa, Australia, Europe, North and South America. The collection also offers a solid overview of feminist contributions to thinking on genre from the "chick flick" to the action or Western film, to film noir and the slasher. Readers will find contributions on a variety of approaches to spectatorship, reception studies and fandom, as well as transnational approaches to star studies and essays addressing the relationship between feminist film theory and new media. Other topics include queer and trans* cinema, eco-cinema and the post-human. Finally, readers interested in the history of film will find essays addressing the methodological dimensions of feminist film history, essays on silent and studio era women in film, and histories of female filmmakers in a variety of non-Western contexts.

List of Figures Acknowledgements List of Contributors Introduction Kristin Lené Hole, Dijana Jelaca, E. Ann Kaplan, Patrice Petro Part I WHAT IS [FEMINIST] CINEMA? Introduction Chapter 1 Classical Feminist Film Theory: Then and (Mostly) Now Patrice Petro Chapter 2 Postcolonial and Transnational Approaches to Film and Feminism Sandra Ponzanesi Chapter 3 Feminist Forms of Address: Mai Zetterling’s Loving Couples Lucy Fischer Chapter 4 Sound and Gender Kathleen Vernon Chapter 5 Gender in Transit: Framing the Cinema of Migration Sumita Chakravarty Chapter 6 "No place for sissies": Gender, Age and Disability in Hollywood Sally Chivers Chapter 7 Chinese Socialist Women’s Cinema: An Alternative Feminist Practice Lingzhen Wang Chapter 8 Gender, Socialism and European Film Cultures Anikó Imre Chapter 9 Queer or LGBTQ+: On the Question of Inclusivity in Queer Cinema Studies Amy Borden Part II GENRES, MODES, STARS Introduction Chapter 10 Contested Masculinities: The Action Film, the War Film, and the Western Yvonne Tasker Chapter 11 The 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 Film Hilary Radner Chapter 12 Moving Past the Trauma: Feminist Criticism and Transformations of the Slasher Genre Anthony Hayt Chapter 13 Slapstick Comediennes in Silent Cinema: Women’s Laughter and the Feminist Politics of Gender in Motion Margaret Hennefeld Chapter 14 Feminist Porn: The Politics of Producing Pleasure Constance Penley, Celine Parreñas Shimizu, Mireille Miller-Young, and Tristan Taormino Chapter 15 The Postmodern Story of the Femme Fatale Julie Grossman Chapter 16 The Documentary: Female Subjectivity and the Problem of Realism Belinda Smaill Chapter 17 Experimental Women Filmmakers Maureen Turim Chapter 18 Transnational Stardom Russell Meeuf Part III MAKING MOVIES Introduction Chapter 19 Feminist and Non-Western Interrogations of Film Authorship Priya Jaikumar Chapter 20 Pink Material: White Womanhood and the Colonial Imaginary in World Cinema Authorship Patricia White Chapter 21 Women, Islam and Cinema: Gender Politics and Representation in Middle Eastern Films and Beyond Eylem Atakav Chapter 22 African 'First Films': Gendered Authorship, Identity, and Discursive Resistance Anne Ciecko Chapter 23 Black Women Filmmakers Jacqueline Bobo Chapter 24 Fair and Lovely: Class, Gender, and Colorism in Bollywood Song Sequences Tejaswini Ganti Chapter 25 What Was "Women’s Work" in the Silent Film Era? Jane Gaines Chapter 26 Female Editors in Studio-Era Hollywood: Rethinking Feminist Frontiers and the Constraints of the Archive J.E. Smyth Chapter 27 Film Activism and Transformative Praxis: Women Make Movies Debra Zimmerman Part IV SPECTATORSHIP, RECEPTION, PROJECTING IDENTITIES Introduction Chapter 28 Psychoanalysis Outside and Beyond the Gaze Claire Pajaczkowska Chapter 29 Embodying Spectatorship: From Phenomenology to Sensation Jenny Chamarette Chapter 30 Deleuzian Spectatorship Felicity Colman Chapter 31 Film Reception Studies and Feminism Janet Staiger Chapter 32 Nollywood, Female Audience, and the Negotiating of Pleasure Ikechukwu Obiaya Chapter 33 Gender and Fandom: From Spectators to Social Audiences Katherine E. Morrissey Chapter 34 Classical Hollywood and Modernity: Gender, Style, Aesthetics Veronica Pravadelli Chapter 35 Lesbian Cinema Post-Feminism: Ageism, Difference, and Desire Rachel Lewis Part V THINKING CINEMA’S FUTURE Introduction Chapter 36 Revolting Aesthetics: Feminist Transnational Cinema in the US Katarzyna Marciniak Chapter 37 Towards Trans Cinema Eliza Steinbock Chapter 38 Visualizing Climate Trauma: The Cultural Work of Films Anticipating the Future E. Ann Kaplan Chapter 39 Eco-Cinema and Gender Alexa Weik von Mossner Chapter 40 Cinema, Animal Studies and the Post/Non-Human Jennifer Lynn Peterson Chapter 41 Class/Ornament: Cinema, New Media, Labor-Power and Performativity Erica Levin Chapter 42 Film Feminism, Post-Cinema and the Affective Turn Dijana Jelaca Chapter 43 Fantasy Echoes and the Future Anterior of Cinema and Gender Kristin Lené Hole Index

Kristin Lené Hole teaches in the film department at Portland State University. She is the author of Towards a Feminist Cinematic Ethics: Claire Denis, Emmanuel Levinas, and Jean-Luc Nancy (2015). Dijana Jelaca teaches in the Department of Communication and Media Studies at Fordham University. She is the author of Dislocated Screen Memory: Narrating Trauma in Post Yugoslav Cinema (2016). Her areas of inquiry include transnational feminism, trauma and memory. Her work has appeared in Camera Obscura, Feminist Media Studies and elsewhere. E. Ann Kaplan is Distinguished Professor of English and the Women's, Gender and Sexuality Studies Department at Stony Brook University, where she also founded and directed The Humanities Institute for twenty-seven years. Her recent research focuses on trauma as evident in her co-edited book, Trauma and Cinema (2004) and her 2005 monograph, Trauma Culture: The Politics of Terror and Loss in Media and Literature. Her book on Climate Trauma: Foreseeing the Future in Dystopian Film and Fiction continues her research on trauma, and was published in 2015. Patrice Petro is Professor of Film and Media Studies at the University of California, Santa Barbara, where she also serves as Director of the Carsey-Wolf Center. She is the author, editor, and co-editor of eleven books, most recently, After Capitalism: Horizons of Finance, Culture, and Citizenship (2016), Teaching Film (2012), and Idols of Modernity: Movie Stars of the 1920s (2010).