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 Jelača 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).

List of Figures

Acknowledgements

List of Contributors

Introduction

Kristin Lené Hole, Dijana Jeläa, 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 Jeläa

Chapter 43

Fantasy Echoes and the Future Anterior of Cinema and Gender

Kristin Lené Hole

Index

This comprehensive collection of all new essays assembles major theoretical approaches to cinema, gender, and spectatorship, covering the intersections with other discourses such as class, ethnicity, sexuality, stars, genres, new media, and feminist modes of address.
Bringing together leading figures in the field, the volume provides an overview of cinema and gender, while also reflecting a desire to rethink some of the ways in which feminist film theory and filmmaking are historicized, theorized, and taught. Essays are organised into five parts, each highlighting key areas and approaches. The Companion will be an important resource for researchers and students.