Feminist Film Theory is alive and well today and has even transcended scholars into pop culture with the Bechdel Test. The inference is that she includes female spectators in that, identifying with the male observer rather than the female object of the gaze. The relationship of feminist film theory to feminist media and cultural studies is outlined, as is the relationship between developments in feminist film theory and feminist film making. For example, the films Spy(2015) and The Hunger Gamesfranchise (2012-present) allow audiences to have a refreshing look at women in strong and powerful positions without a man by their side, thus enforcing the important message that women do not have to be put in a box and objectified, they can play a variety of different, versatile roles and they can be considered through the eyes of society in a way that doesn’t patronize and sexualise them via the Male Gaze. Feminist Cinema and Film Theor y. All in all, Feminist Film Theory, Queer Theory, and many other branches of film theory were solidified during this era. feminist film theory -andthat image has often been cited, rightly, by feminists, as one of sadism and misogyny. “The Diana Ross star vehicle Mahogany (directed by Berry Gordy, 1975) immediately suggests a … As technologies have progressed, contemporary film theory now looks at where and how we encounter … Vie w project Anneke Smelik Radboud Univ ersity 119 … In 18th-century England Mary Wollstonecraft ’s A Vindication of the Rights of Woman became a seminal work of English-language feminist philosophy. [3], British feminist film theorist, Laura Mulvey, best known for her essay, "Visual Pleasure and Narrative Cinema", written in 1973 and published in 1975 in the influential British film theory journal, Screen[4] was influenced by the theories of Sigmund Freud and Jacques Lacan. The inclusion of feminist essays by philosophers in two anthologies on film in the mid‐1990s, together … It is best to approach this subject, then, by situating it in relation to other fields, including feminist film theory, film theory in general, philosophical work on film, and feminist aesthetics. Ettinger's notions articulate the links between aesthetics, ethics and trauma. I identify feminist film theory as a discourse; that is, a discursive formation made up from a series of statements within which, and by which, debates related to gendered representation, female subjectivity and spectatorship can be known. The Auteur theory argues that a film is a reflection of the director’s artistic vision; so, a movie directed by a given filmmaker will have recognizable, recurring themes and visual queues that inform the audience who the director is (think a Hitchcock or Tarantino film) and shows a consistent artistic … Research traditions include socio … “The Oppositional Gaze: Black Female Spectators.”, African-American women's suffrage movement, List of female film and television directors, http://www.asu.edu/courses/fms504/total-readings/mulvey-visualpleasure.pdf, "Feminist Film Criticism in the 21st Century", Historical Journal of Film, Radio and Television, New Review of Film and Television Studies, https://en.wikipedia.org/w/index.php?title=Feminist_film_theory&oldid=998680510, Creative Commons Attribution-ShareAlike License, Bracha L. Ettinger (1999), "Matrixial Gaze and Screen: Other than Phallic and Beyond the Late Lacan." Feminist film theory however is often universalizing, and it makes use of complex language and alienating categories which deny women's experiences as active spectators enjoying films or reading them critically. Feminist film theory makes gender its exploratory focus and it has emerged to find a place for women in films; they were frustrated with how feminist studies ignore critiques and works of media, particularly films. The second is the perspective of the spectator as they see the female character on screen. 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