Feminisms: Diversity, Difference and Multiplicity in Contemporary Film Cultures PDF
Preview Feminisms: Diversity, Difference and Multiplicity in Contemporary Film Cultures
Feminisms TheKeyDebates MutationsandAppropriations inEuropeanFilmStudies SeriesEditors IanChristie,DominiqueChateau,AnnievandenOever Feminisms Diversity, Difference, and Multiplicity in Contemporary Film Cultures Edited by Laura Mulvey and Anna Backman Rogers AmsterdamUniversityPress The publication of this book is made possible by grants from the Netherlands OrganisationforScientificResearch(NWO). Coverdesign:Neon,designandcommunications|SabineMannel Lay-out:japes,Amsterdam AmsterdamUniversityPressEnglish-languagetitlesaredistributedintheUSand CanadabytheUniversityofChicagoPress. isbn 9789089646767 e-isbn 9789048523634 doi 10.5117/9789089646767 nur 670 ©L.Mulvey,A.BackmanRogers/AmsterdamUniversityPressB.V.,Amsterdam 2015 All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of both thecopyrightownerandtheauthorofthebook. Contents Editorial 9 Preface 10 Acknowledgments 15 Introduction:1970sFeministFilmTheoryandtheObsolescent Object 17 LauraMulvey PARTI NewPerspectives: Images andtheFemaleBody DisconnectedHeroines,IcyIntelligence:ReframingFeminism(s)and FeministIdentitiesattheBordersInvolvingtheIsolatedFemaleTV DetectiveinScandinavian-Noir 29 JanetMcCabe LenaDunham’sGirls:Can-DoGirls,FeministKilljoys,andWomen WhoMakeBadChoices 44 AnnaBackmanRogers DestroyVisualPleasure:Cinema,Attention,andtheDigitalFemale Body(Or,AngelinaJolieIsaCyborg) 54 WilliamBrown TheIntertextualStardomofIris:Winslet,Dench,Murdoch,and Alzheimer’sDisease 65 LucyBolton PARTII Theoryin ContemporaryContexts ImaginingSafeSpaceinFeministPornography 79 IngridRyberg UncommonSensuality:NewQueerFeministFilm/Theory 86 SophieMayer 5 ThePromiseofTouch:TurnstoAffectinFeministFilmTheory 97 AnuKoivunen SoundandFeministModernityinBlackWomen’sFilmNarratives 111 GeethaRamanathan PARTIII HistoryandPractice The“New”Experimentalism?WomenIn/And/OnFilm 125 JennyChamarette ConditionsofActivism:FeministFilmActivismandtheLegacyofthe SecondWave 141 LeshuTorchin USIndependentWomen’sCinema,SundanceGirls,andIdentity Politics 149 VeronicaPravadelli PARTIV ContextualizingHistory:New Frontiersin FeministJournals Suddenly,OneSummer:FrauenundFilmsince1974 161 AnnetteBrauerhoch (Re)InventingCameraObscura 169 AmelieHastie,LynneJoyrich,PatriciaWhite,SharonWillis PARTV Discussions:DialoguingDifferenceandExtremityin ContemporaryCinemas Film,Corporeality,TransgressiveCinema:AFeministPerspective 187 MartineBeugnetandLauraMulvey DisconnectionNotices:InterviewwithMirandaJuly 203 MirandaJulyandAnnaBackmanRogers 6 contents Notes 209 GeneralBibliography 239 NotesonContributors 259 IndexofNames 265 IndexofFilmTitles 273 contents 7 Editorial The original aim of the Key Debates series was to revisit the concepts and indeed controversies that have shaped the field of film studies. Our intention was two- fold:toclarifywhatwasinitiallyatstakeinthefoundingtextsandalsotoclarify lines of transmission and re-interpretation in what remains a hybrid field of study, which has “appropriated” and thus modified much of what it uses. The fourvolumespublishedtodatetakedifferentapproachestothiscentralmission, reviewing how early film theory adopted and developed literary theories of “strangeness” (ostrannennie); shifting concepts of subjectivity engendered by film;thevarietyofwaysthatfilm’saudienceshavebeenconceived;andtheper- sistenceofdebatearoundfilmasatechnology. From the outset, we were conscious of another debate that played a vital part inshapingbothmodernfeministscholarshipandfilmtheory,whichowedmuch to Laura Mulvey’s seminal essay, “Visual Pleasure and Narrative Cinema,” pub- lished in Screen 16/3 in 1975. It therefore seems highly appropriate that this sec- ondphaseoftheKeyDebatesseriesshouldstartwithavolumethattakesstockof how nearly half a century of debate has surrounded and continues to link con- cepts of feminism and film theory. We are even more delighted that this is co- editedbyLauraMulvey,asoneofthegroupwhooriginallyconceivedtheseries, indialoguewithAnnaBackmanRogers. Whenwelaunchedthisbookseriesin2010,afteraphaseofpreparationwhich beganin2006,wefeltthatasscholarshipinthehistoryoffilmtheorydeveloped, there was a need to revisit many long-standing assumptions and particularly so in light of the changes in media devices and viewing practices.Further volumes are now in preparation, as we recognize that pervasive digital media have not made film, or the concepts and debates that it gives rise to, redundant. On the contrary, there seems more need than ever to clarify and refocus fundamental issuessuchasscreenexperienceandnarrativityinthelightofourcontemporary mediaenvironment. London/Paris/Amsterdam/Groningen IanChristie,DominiqueChateau,AnnievandenOever 9 Preface We are living in exciting but highly challenging and troubling times. 2014 was theyearinwhichTimemagazineincludedtheword“feminism”inapollofirri- tating words readers might like to have banned; artist Allen Jones was given a majorretrospectiveattheRoyalAcademy;AustralianPrimeMinisterTonyAbbott dismissed a campaign against gendered children’s toys as egregious “political correctness”;1 Zoe Quinn and Anita Sarkeesian had their lives threatened and were forced out of their homes during the Gamergate scandal; students at ColumbiaUniversitycarriedamattressaroundcampusinashowofsupportfor victimsofrapeandsexualviolencewhowerebeingdismissedandignored;David Fincher’sGoneGirlwasreleasedtocriticalacclaimandfeministopprobrium over its use of rape as a mere narrative trope; comparatively scant attention was given by the media to sexual crimes perpetrated against women in areas of the Middle East and Iraq controlled by ISIS; the Hollaback video went viral but was met with backlash; actresses Shailene Woodley and Salma Hayek publicly re- jectedthewordfeministandthe“WomenAgainstFeminism”groupwasformed; theapologisthashtag“#NOTALLMEN”wascreatedinresponsetothemasskill- ingspreeof22year-oldElliotRodger(afolloweroftheMen’sRightsmovement) inIslaVista,California;andBeyoncétooktothestageforaseventeen-minuteset at the MTV Video Music Awards, which she performed in front of the word Feminist (causing bell hooks to denounce her as “an anti-feminist, that is, a terrorist”andRoxaneGaytodefendheras“incrediblyempowered.Sheissexual, yes–butonherownterms”).2 AndyetitwasalsotheyearinwhichMalalaYousafzaireceivedtheNobelPeace Prize;Norwayputinplacelegislationtoensurethatfiftypercentofeveryexecu- tive board is female – and Germany, Iceland, Finland, Spain, France, and the Netherlandsdecidedtofollowsuit;areportbackedbyUNWomenongenderin internationalcinemawaspublished;theSwedishFeministInitiativepartygained more traction; Rebecca Solnit, who coined the term “mansplaining,” published herbookMenExplainThingstoMe;3membersofthebandPussyRiotwerefilmed inconversationwithfeministscholarsRosiBraidottiandJudithButler;physicist Fabiola Gianotti was appointed the Director General of the CERN particle phy- sicslaboratory;thepro-choicefilmaboutabortionObviousChildwasnamed independent film of theyear and awarded best directorial debutby the National BoardofReview;thelaunchofUNWomen’sHeForShecampaigngainedpublic attention due to a rousing speech given by the twenty-four-year-old actress 10
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