Women's Studies Quarterly

Articles from Vol. 30, No. 1/2, Spring

Creating the Lesbian Mammy: Boys on the Side and the Politics of AIDS
Postmodern film theorists often dismiss film criticism that focuses on stereotypes and images of socially marginalized groups as naive and outdated. Ellis Hanson's Outtakes: Essays on Queer Theory and Film characterizes such a focus as oversimplified...
Documenting Race and Gender: Kym Ragusa Discusses Passing and Fuori/Outside
In her two award-winning short documentaries Passing (1996) and Fuori/Outside (1997), New York-based filmmaker Kym Ragusa explores the limits of the documentary genre in order to portray the centrality of race and ethnicity in U.S. women's experience.1...
Editorial
When I first proposed that Women's Studies Quarterly do an issue on film and women's studies, the "and" in the title and the relationship it suggests seemed quite unproblematic to me. Film and women's studies were connected in my mind in myriad ways....
Feminism and Film (Oxford Readings in Feminism) / Feminist Film Theory: A Reader
Choosing a textbook for a Women in Film or a Film and Gender course is never easy. Students are rarely prepared for the high theoretical pitch of much of the literature, and they often don't expect to work hard in a film course to begin with. My approach...
Feminisms on Film
Instructors of women's studies, like many others in the academy, rely frequently on film and video to generate-and sometimes direct-discussions of difficult or controversial subject matter. Because students are visually literate, one can sometimes forge...
Films by Tracy Moffatt: Reclaiming First Australians' Rights, Celebrating Women's Rites
Although Tracey Moffatt's name is not likely be found on the marquee of your local multiplex, the Australian Aboriginal photographer, video artist, and filmmaker is, in the contemporary art world, "one of the most popular artists of the moment" (Versloot...
Girls Town's Challenge to "Do It Yourself" Feminism
The recognition that "the personal is political" was central to the second wave of the women's movement. Women were radicalized by the notion that what they had understood as their private experience was, in fact, "characterized by power and fraught...
"I'm a Wheelchair Girl Now": Abjection, Intersectionality, and Subjectivity in Atom Egoyan's the Sweet Hereafter
Since form cannot be separated from content-the form of the story being (integral to) the story itself-there is no other way to say it without reforming it (that is, unintentionally modifying, augmenting, or narrowing it). -Trinh T Minh-ha Introduction...
Maria Novaro on the Making of Lola and Danzon
Mexican filmmaker Maria Novaro (born 1951) trained as a sociologist before attending film school in Mexico City. A prolific director-her films include Lola (1989), Danzon (1991), El Jardin del Eden (1994), and Sin dear huella (2000)-Novaro has also written...
Motherhood, Desire, and Intimacy: Teaching Mexican Women's Films
I dedicate this article to the students in the honors seminar of spring 2000. In the spring of 2000, I had the opportunity to teach an honors seminar, titled Motherhood, Desire, and Intimacy, at Plattsburgh State University in upstate New York. In the...
On the Existence of Women: A Brief History of the Relations between Women's Studies and Film Studies
I'm honored to have been asked to write a brief history of the dialogue between women's studies and film studies to help introduce this issue of Women's Studies Quarterly. That the history of the relations among film, women's studies, and feminist theory...
Political Filmmaking: Talking with Renee Tajima-Pena
Renee Tajima-Pena has become a chronicler of the American scene with her films Who Killed Vincent Chin? the Academy Award-nominated investigation of the beating death of a Chinese American in Detroit, and My America ... or Honk If You Love Buddha, which...
Redirecting the Gaze: Gender, Theory, and Cinema in the Third World
Diana Robin and Ira Jaffe's Redirecting the Gaze comes at a time when cinema studies is spreading its interdisciplinary wings and establishing itself as a crossroads for doing critical theory. Redirecting the Gaze is an invaluable addition to an area...
Remembering Barbie Nation: An Interview with Susan Stern
After a twenty-year career in journalism in Boston and the San Francisco Bay Area, Susan Stem was inspired to begin work on her first film when her daughter, Nora, invented the game "Jealous Barbie." In this interview, Stem tells the story of the genesis,...
Re-Scripting History and Fairy Tales in Brigitte Rouan's Outremer
In Outremer (1992), French actress, film director, and script writer Brigitte Rowan offers a feminist, postcolonial revision of the history of "French Algeria" in the years between 1946 and 1964.1 Instead of focusing on the political events, the Algerian...
Teaching What We're Not: Using Videos to Diversify the Women's Studies Curriculum
Over the more than thirty-year life of women's studies as an interdiscipline, there has been a growing commitment in the United States to diversifying the curriculum-an effort certainly still in progress. Both the integration of the experiences of the...
The Cyborg Mystique: The Stepford Wives and Second Wave Feminism
Bryan Forbes's 1975 suburban gothic film The Stepford Wives has been almost uniformly neglected in film criticism in the past two decades.1 Recent genre studies of horror and science fiction ignore the film, as have collections of feminist film criticism....
The Films We Teach: Using Rosie the Riveter, Global Assembly Line, Dreamworlds II, and Fast Food Women in the Women's Studies Classroom
Wendy Kolmar, with teaching guides by Caitlin Killian, Debra Liebowitz, Lynne Derbyshire, and Carot J. Pierman The most common and ubiquitous experience of film for women's studies students is the viewing of documentaries in core women's studies courses,...
The Gaze as Theoretical Touchstone: The Intersection of Film Studies, Feminist Theory, and Postcolonial Theory
A theory is exactly like a box of tools. It has nothing to do with the signifier. It must be useful. It must function. And not for itself. If no one uses it, beginning with the theoretician himself (who then ceases to be a theoretician), then the theory...
Uncovering the Harem in the Classroom: Tania Kamal-Eldin's Covered: The Hejab in Cairo, Egypt and Hollywood Harems within the Context of a Course on Arab Women Writers
In an effort to promote understanding in the wake of September 11, Women Make Movies undertook a special "Response to Hate" campaign. Under this initiative, the organization lent their videos relating to Arabs and Muslims free of charge to organizations...
Viewing in the Dark: Toward a Black Feminist Approach to Film
In the spring semester of 2000, when I taught my first Introduction to Women's Studies course, I introduced Laura Mulvey's "Visual Pleasure and Narrative Cinema" during a unit on images of women in popular culture. To illustrate Mulvey's analysis of...
Views from "The Other Side": Theorizing Age and Difference in Yvonne Rainer's Privilege
The films of director-writer Yvonne Rainer, as Teresa de Lauretis points out in her foreword to the published film scripts, are "produced at the intersection of creative and critical practices-the avant-garde and the women's movement, filmmaking and...
Whose Naming Whom: Using Independent Video to Teach about the Politics of Representation
In this essay, we address how independent video can be used to help students recognize and contest the dominant culture's presumed right to represent the world. We examine how such videos provide alternative views, allow students to see how others contest...
Women, Film, and Feminism: A Course Syllabus
Course Description This course introduces the issues that feminist theories pose for the analysis of films and culture. These issues are usually framed in reference to women's access to and roles in the production of media and women's representation...
Women Make Movies Responds to Hate
As is true for many nonprofit organizations located in Lower Manhattan, the tragic events of September 11 have had a profound impact on the staff and community of Women Make Movies. In the nearly thirty years in which we have distributed and supported...
Women's Stories, Women's Films: Integrating Women's Studies and Film Production
We know tw we are wthout a text, and must discover one. --Carolyn G. Heilbrun Women working in creative fields today have the unique opportunity of creating the works that other artists will study in the future. But for students in artistic fields, exposure...
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