Advertisement

Feministische Filmanalyse

  • Sarah-Mai DangEmail author
Chapter
  • 83 Downloads

Zusammenfassung

Die feministische Filmanalyse setzt sich mit gesellschaftlichen Marginalisierungsprozessen auseinander, indem sie die Konstitution dominanter Bilder und Ideen erforscht. Sie geht davon aus, dass die Repräsentation von Differenzen in audiovisuellen Medien untrennbar mit der alltäglichen Lebenswelt verschränkt ist. Zugleich politische Bewegung, filmische Praxis und institutionalisierte Theorie ist der feministischen Filmforschung die Analyse von Präsenz und Absenz ein zentrales, sowohl intellektuelles als auch aktivistisches, Anliegen. Wer sieht und wer oder was angesehen oder nicht gesehen wird, sind essenzielle Fragen, die von Anfang an die sich durch Pluralität und Heterogenität auszeichnende feministische Filmforschung bestimmen. Sie wendet sich gegen essenzialistische Subjekt- und Identitätskonzepte und Dichotomien. Differenzen wie gender, race, class oder sexuality werden nicht als neutral begriffen, sondern als Effekt und Re/Produktion von Machtstrukturen.

Schlüsselwörter

Frauen Differenzkategorien Zuschauerin Filmerfahrung Postfeminismus 

Literatur

  1. Ahmed, Sara. 2006. Queer phenomenology: Orientations, objects, others. Durham: Duke University Press.CrossRefGoogle Scholar
  2. Ang, Ien. 1985. Watching Dallas: Soap opera and the melodramatic imagination. London: Methuen.Google Scholar
  3. Barker, Jennifer M. 2009. The tactile eye: Touch and the cinematic experience. Berkeley: University of California Press.Google Scholar
  4. Bean, Jennifer M., und Diane Negra, Hrsg. 2002. A feminist reader in early cinema. Durham: Duke University Press.Google Scholar
  5. Berenstein, Rhona J. 1997. Spectatorship-as-drag: The act of viewing and classic horror cinema. In Viewing positions, Hrsg. Linda Williams, 231–269. New Brunswick: Rutgers Univ. Press.Google Scholar
  6. Bergstrom, Janet, und Mary Ann Doane, Hrsg. 1989. The Female Spectator: Contexts and Directions. In Camera Obscura: Feminism, Culture, and Media Studies, 7(2–3 (20–21)): 5–27.Google Scholar
  7. Beugnet, Martine. 2007. Cinema and sensation: French film and the art of transgression. Edinburgh: Edinburgh University Press.CrossRefGoogle Scholar
  8. Brah, A. 1996. Cartographies of diaspora: Contesting identities. London/New York: Routledge.Google Scholar
  9. Bruno, Giuliana. 1993. Streetwalking on a ruined map: Cultural theory and the city films of Elvira Notari. Princeton: Princeton University Press.Google Scholar
  10. Brunsdon, Charlotte. 1981. ‚Crossroads‘ notes on soap opera. Screen 22(4): 32–37.CrossRefGoogle Scholar
  11. Brunsdon, Charlotte. 2000. The feminist, the housewife, and the soap opera. Oxford: Clarendon Press.CrossRefGoogle Scholar
  12. Butler, Judith. 1997. Körper von Gewicht: Die diskursiven Grenzen des Geschlechts. Frankfurt a. M.: Suhrkamp.Google Scholar
  13. Chamarette, Jenny. 2017. Embodying Spectatorship: From phenomenology to sensation. In The Routledge companion to cinema and gender, Hrsg. Kristin Lené Hole, Dijana Jelača, E. Ann Kaplan und Patrice Petro, 311–321. London/New York: Routledge.Google Scholar
  14. Clover, Carol J. 1993. Men, women and chain saws: Gender in the modern horror film. Princeton: Princeton University. Press.Google Scholar
  15. Cook, Pam. 1991. Melodrama and the women’s picture. In Gainsborough Melodrama, Hrsg. Sue Aspinall und Robert Murphy, 14–28. London: BFI.Google Scholar
  16. Dall’Asta, Monica, und Jane M. Gaines. 2015. Prologue: Constellations: Past meets present in feminist film history. In Doing women’s film history: Reframing cinemas, past and future, 13–25. Urbana/Chicago/Springfield: University of Illinois Press.Google Scholar
  17. Dang, Sarah-Mai. 2016. Chick Flicks: Film, Feminismus und Erfahrung. Hamburg: oa books, tredition GmbH.Google Scholar
  18. Doane, Mary Ann. 1980. The Voice in the cinema: The articulation of body and space. Yale French Studies 60:33–50.CrossRefGoogle Scholar
  19. Doane, Mary Ann, Hrsg. 1984. The ‚Woman’s film‘: Possession and address. In Re-vision: Essays in feminist film criticism, 67–82. Frederick: University Publishing of America.Google Scholar
  20. Dyer, Richard. 2007. White. London: Routledge.Google Scholar
  21. Faludi, Susan. 1992. Backlash: The undeclared war against women. London: Chatto & Windus.Google Scholar
  22. Gaines, Jane. 2002. Of cabbages and authors. In A feminist reader in early cinema, Hrsg. Jennifer von Bean, 88–118. Durham: Duke University Press.Google Scholar
  23. Gaines, Jane. 2009. Filmgeschichte als Kritik feministischer Filmtheorie. Das Argument 51(6): 926–934.Google Scholar
  24. Genz, Stéphanie, und Benjamin A. Brabon. 2009. Postfeminism: Cultural texts and theories. Edinburgh: Edinburgh University Press.Google Scholar
  25. Gill, R. 2007. Postfeminist media culture: Elements of a sensibility. European Journal of Cultural Studies 10(2): 147–166.CrossRefGoogle Scholar
  26. Gledhill, Christine A., Hrsg. 1987. Home is where the heart is: Studies in melodrama and the woman’s film. London: BFI.Google Scholar
  27. Gledhill, Christine, und Julia Knight, Hrsg. 2015. Doing women’s film history: Reframing cinemas, past and future. Urbana/Chicago: University of Illinois Press.Google Scholar
  28. Haraway, Donna. 1988. Situated knowledges: The science question in feminism and the privilege of partial perspective. Feminist Studies 14(3): 575–599.CrossRefGoogle Scholar
  29. Hastie, Amelie. 2002. Circuits of memory and history: The memoirs of Alice Guy-Blaché. In A feminist reader in early cinema, Hrsg. Jennifer von Bean, 29–59. Durham: Duke University Press.Google Scholar
  30. Hole, Kristin Lené. 2017. Fantasy echoes and the future anterior of cinema and gender. In The Routledge companion to cinema and gender, Hrsg. Kristin Lené Hole, Dijana Jelača, E. Ann Kaplan und Patrice Petro, 458–467. London/New York: Routledge.Google Scholar
  31. hooks, bell. 1992. Black looks: race and representation. Boston: South End Press.Google Scholar
  32. Jelača, Dijana. 2017. Film feminism, post-cinema, and the affective turn. In The Routledge companion to cinema and gender, Hrsg. Kristin Lené von Hole, Dijana Jelača, E. Ann Kaplan und Patrice Petro, 446–457. London/New York: Routledge.Google Scholar
  33. Johnston, Claire, Hrsg. 1973. Women’s cinema as counter-cinema. In Notes on women’s cinema, 24–31. London: Society for Education in Film and Television.Google Scholar
  34. Koch, Gertrud. 1989 [1980]. Warum Frauen ins Männerkino gehen. Weibliche Aneignungsweisen in der Filmrezeption und einige ihrer Voraussetzungen. In „Was ich erbeute, sind Bilder“: Zum Diskurs der Geschlechter im Film, 125–145. Basel/Frankfurt a. M.: Stroemfeld; Roter Stern.Google Scholar
  35. Koivunen, Anu. 2015. The promise of touch: Turns to affect in feminist film theory. In Feminisms: diversity, difference and multiplicity in contemporary film cultures, Hrsg. Laura Mulvey und Anna Backman Rogers, 97–110. Amsterdam: Amsterdam University Press.CrossRefGoogle Scholar
  36. Kuhn, Annette. 1987. Women’s genres: Melodrama, soap opera and theory. In Home is where the heart is, Hrsg. Christine A. Gledhill, 339–349. London: BFI.Google Scholar
  37. Lauretis, Teresa de, Hrsg. 1987. Technologies of gender. In Technologies of gender, 1–30. Bloomington: Indiana University Press.Google Scholar
  38. Lauretis, Teresa de. 1994. The practice of love: Lesbian sexuality and perverse desire. Bloomington: Indiana University Press.Google Scholar
  39. Marks, Laura U. 2000. The skin of the film: Intercultural cinema, embodiment, and the senses. Durham: Duke University Press.CrossRefGoogle Scholar
  40. Marks, Laura U. 2002. Touch: sensuous theory and multisensory media. Minneapolis: University of Minnesota Press.Google Scholar
  41. Mayne, Judith. 1997. Paradoxes in Spectatorship. In Viewing positions, Hrsg. Linda Williams, 155–183. New Brunswick: Rutgers Universtiy Press.Google Scholar
  42. McRobbie, Angela. 2004. Post-feminism and popular culture. Feminist Media Studies 4(3): 255–264.CrossRefGoogle Scholar
  43. McRobbie, Angela. 2010. Top girls: Feminismus und der Aufstieg des neoliberalen Geschlechterregimes. Wiesbaden: VS Verlag für Sozialwissenschaften.CrossRefGoogle Scholar
  44. Minh-Ha, Trinh T. 1989. Woman, native, other: Writing postcoloniality and feminism. Bloomington: Indiana University Press.Google Scholar
  45. Minh-Ha, Trinh T. 1991. When the moon waxes red: Representation, gender, and cultural politics. New York: Routledge.Google Scholar
  46. Minh-Ha, Trinh T. 1992. Framer framed. New York: Routledge.Google Scholar
  47. Modleski, Tania. 1982. Loving with a vengeance: Mass-produced fantasies for women. New York: Routledge.Google Scholar
  48. Modleski, Tania. 2016 [1988]. The women who knew too much: Hitchcock and feminist theory. New York/London: Routledge.Google Scholar
  49. Mulvey, Laura. 1981. Afterthoughts on ‚visual pleasure and narrative cinema‘: Inspired by King Vidor’s Duel in the Sun. Framework 15:12–15.Google Scholar
  50. Mulvey, Laura. 1999 [1975]. Visual Pleasure and Narrative Cinema. In Film Theory and Criticism: Introductory Readings, Hrsg. Leo Braudy und Marshall Cohen, 833–844. New York: Oxford University Press.Google Scholar
  51. Naficy, Hamid. 2001. An accented cinema: Exilic and diasporic filmmaking. Princeton: Princeton University Press.CrossRefGoogle Scholar
  52. Negroni, Hilary. 2016. Feminist film theory and Cléo from 5 to 7. New York: Bloomsbury.CrossRefGoogle Scholar
  53. Ponzanesi, Sandra. 2017. Postcolonial and transnational approaches to film and feminism. In The Routledge companion to cinema and gender, Hrsg. Kristin Lené Hole, Dijana Jelača, E. Ann Kaplan und Patrice Petro, 25–35. London/New York: Routledge.Google Scholar
  54. Radner, Hilary. 2010. Neo-feminist cinema: Girly films, chick flicks, and consumer culture. New York: Routledge.CrossRefGoogle Scholar
  55. Radway, Janice A. 1984. Reading the romance. Chapel Hill: University of North Carolina Press.Google Scholar
  56. Ramanathan, Geetha. 2015. Sound and Feminist Modernity in Black Women’s Film Narratives. In Feminisms: diversity, difference and multiplicity in contemporary film cultures, Hrsg. Laura Mulvey und Anna Backman Rogers, 111–122. Amsterdam: Amsterdam University Press.Google Scholar
  57. Schlüpmann, Heide. 2004. Frühes Kino als Gegenkino – was ist aus seiner (Wieder-)Entdeckung heute geworden? Ein Beitrag zur Selbstreflexion feministischer Filmwissenschaft in drei Folgen: Das Gegenkino, die Gegengeschichtsschreibung, die Gegentheorie. In Screenwise, Hrsg. Monika Bernold, 107–114. Marburg: Schüren.Google Scholar
  58. Schlüpmann, Heide. 2007. Ungeheure Einbildungskraft: Die dunkle Moralität des Kinos. Frankfurt a. M.: Stroemfeld.Google Scholar
  59. Scott, Joan Wallach. 2011. The fantasy of feminist history. Durham: Duke University Press.Google Scholar
  60. Shohat, Ella. 2006. Taboo memories, diasporic voices, Next wave. Durham: Duke University Press.CrossRefGoogle Scholar
  61. Shohat, Ella, und Robert Stam. 1994 [2014]. Unthinking Eurocentrism: Multiculturalism and the media. London/New York: Routledge.Google Scholar
  62. Silverman, Kaja. 1988. The acoustic mirror: The female voice in psychoanalysis and cinema. Bloomington: Indiana University Press.Google Scholar
  63. Simon, Jane. 2017. Documenting the domestic: Chantal Akerman’s Experimental Autobiography as Archive. Australian Feminist Studies 32(91–92): 150–170.Google Scholar
  64. Sobchack, Vivian. 1992. The address of the eye: A phenomenology of film experience. Princeton: Princeton University Press.Google Scholar
  65. Sobchack, Vivian Carol. 2007. Carnal thoughts: Embodiment and moving image culture. Berkeley: University of California Press.Google Scholar
  66. Stacey, Jackie. 1987. Desperately Seeking Difference. Screen 28(1): 48–61.CrossRefGoogle Scholar
  67. Taormino, Tristan, Hrsg. 2013. The feminist porn book: The politics of producing pleasure. New York: Feminist Press at the City University of New York.Google Scholar
  68. Tasker, Yvonne, und Diane Negra, Hrsg. 2007. Interrogating postfeminism: Gender and the politics of popular culture. Durham: Duke University Press.Google Scholar
  69. Tedjasukmana, Chris. 2016. Queere Theorie und Filmtheorie. In Handbuch Filmtheorie, Hrsg. Bernhard Groß und Thomas Morsch. Wiesbaden: Springer.Google Scholar
  70. Walsh, Andrea S. 1984. Women’s film and female experience, 1940–1950. New York: Praeger.Google Scholar
  71. White, Patricia. 2017. Pink material. White womanhood and the colonial imaginary of world cinema authorship. In The Routledge companion to cinema and gender, Hrsg. Kristin Lené Hole, Dijana Jelača, E. Ann Kaplan und Patrice Petro, 215–226. London/New York: Routledge.Google Scholar
  72. Williams, Linda. 1984. ‚Something else besides a mother‘: ‚Stella Dallas‘ and the Maternal Melodrama. Cinema Journal 24(1): 2–27.CrossRefGoogle Scholar
  73. Williams, Linda. 1991. Film bodies: Gender, genre, and excess. Film Quarterly 44(4): 2–13.CrossRefGoogle Scholar
  74. Williams, Linda. 1997. Viewing positions: Ways of seeing film. New Brunswick: Rutgers University Press.Google Scholar
  75. Williams, Linda. 2004. Porn studies. Durham: Duke University Press.CrossRefGoogle Scholar

Copyright information

© Springer Fachmedien Wiesbaden GmbH, ein Teil von Springer Nature 2020

Authors and Affiliations

  1. 1.Institut für MedienwissenschaftPhilipps-Universität MarburgMarburgDeutschland

Personalised recommendations