Situating the Feminist Gaze and Spectatorship in Postwar Cinema

Marcelline Blockâ (TM)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 Agnès Vardaâ (TM)s 2007 installation at the PanthÃ(c)on to the post-Soviet Russian filmmakers Aleksei Balabanov and Valerii Todorovskii; from Quentin Tarantinoâ (TM)s Death Proof to Sofia Coppolaâ (TM)s postfeminist trilogy; from Chantal Akermanâ (TM)s â oetranshistorical, transgressive and transgendered gazeâ to the â oequantum gazeâ in Steven Spielbergâ (TM)s Jurassic Park; from Hitchcockâ (TM)s â oegood-looking blondesâ to the career-woman-in-peril thriller, among others. According to the semiotician Marshall Blonsky of the New School University in New York, â oegiven the breadth of the editorâ (TM)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 â ~new eyesâ (TM) to view canonical and other film texts.â David Sterritt, chairman of the National Society of Film Critics, states that this anthology â oeshould be required reading for students and scholars, among other readers interested in the interaction of cinema with contemporary culture.â Situating the Feminist Gaze and Spectatorship is prefaced by Jean-Michel RabatÃ(c)â (TM)s brilliant essay, â oeMulvey was the Firstâ ]â This title is now also translated into Italian.