Feminist film theory

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Feminist film theory is theoretical film criticism derived from feminist politics and feminist theory. Feminists have many approaches to cinema analysis, regarding the film elements analysed and their theoretical underpinnings.

Contents

History

The development of feminist film theory was influenced by second wave feminism and the development of women's studies within the academy. Feminist scholars began taking cues from the new theories arising from these movements to analyzing film. Initial attempts in the United States in the early 1970s were generally based on sociological theory and focused on the function of women characters in particular film narratives or genres and of stereotypes as a reflection of a society's view of women. Works such as Marjorie Rosen’s Popcorn Venus: Women, Movies, and the American Dream (1973) and Molly Haskell’s From Reverence to Rape: The Treatment of Women in Movies (1974) analyzed how the women portrayed in film related to the broader historical context, the stereotypes depicted, the extent to which the women were shown as active or passive, and the amount of screen time given to women.[1]

In contrast, film theoreticians in England began integrating critical theory based perspectives drawn from psychoanalysis, semiotics, and Marxism, and eventually these ideas gained hold within the American scholarly community in the later 1970s and 1980s. Analysis generally focused on "the production of meaning in a film text, the way a text constructs a viewing subject, and the ways in which the very mechanisms of cinematic production affect the representation of women and reinforce sexism".[2]

In his article, "From the Imaginary Signifier: Identification, Mirror," Christian Metz argues that viewing film is only possible through scopophilia (pleasure from looking, related to voyeurism), which is best exemplified in silent film.[3]

According to Cynthia A. Freeland in "Feminist Frameworks for Horror Films," feminist studies of horror films have focused on psychodynamics where the chief interest is "on viewers' motives and interests in watching horror films".[4]

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