📺Film and Media Theory Unit 7 – Feminist Film Theory

Key Concepts in Feminist Film Theory

• Examines the representation and portrayal of women in film and media
• Analyzes how gender roles and stereotypes are constructed and perpetuated through cinema
• Explores the power dynamics between men and women in the film industry and on-screen
• Critiques the male-dominated nature of filmmaking and its impact on female characters and narratives
• Advocates for more diverse and authentic representations of women in film
• Challenges the objectification and sexualization of women in cinema
  • Argues that this reinforces harmful gender norms and expectations
• Seeks to empower women both behind and in front of the camera

Historical Context and Development

• Emerged in the 1970s as part of the second-wave feminist movement
  • Coincided with the rise of women's liberation and consciousness-raising groups
• Drew from various fields, including psychoanalysis, semiotics, and Marxist theory
• Early influential works include Laura Mulvey's "Visual Pleasure and Narrative Cinema" (1975) and Claire Johnston's "Women's Cinema as Counter-Cinema" (1973)
• Challenged the patriarchal nature of Hollywood cinema and its reinforcement of traditional gender roles
• Sought to create a new language of cinema that reflected women's experiences and perspectives
• Developed in parallel with other feminist movements in art, literature, and academia
• Continues to evolve and expand, incorporating new perspectives and intersectional approaches

Major Theorists and Their Contributions

• Laura Mulvey: Introduced the concept of the "male gaze" in her seminal essay "Visual Pleasure and Narrative Cinema"
  • Argued that Hollywood cinema positions women as passive objects of male desire and control
• Claire Johnston: Advocated for a "counter-cinema" that challenged dominant modes of representation and narrative
• bell hooks: Emphasized the importance of intersectionality in feminist film theory, particularly the experiences of Black women
• Teresa de Lauretis: Developed the concept of "technologies of gender" to describe how media constructs and reinforces gender norms
• Barbara Creed: Analyzed the representation of women in horror films through the lens of psychoanalysis
• Annette Kuhn: Examined the relationship between women, cinema, and cultural memory
• E. Ann Kaplan: Explored the intersection of feminism, psychoanalysis, and postcolonial theory in film studies

The Male Gaze and Its Implications

• Refers to the way in which cinema is structured around the perspective and desires of the male viewer
• Positions women as passive objects to be looked at and desired by men
  • Often through voyeuristic or fetishistic framing and camera angles
• Reinforces a power dynamic in which men are active subjects and women are subordinate objects
• Perpetuates harmful gender stereotypes and expectations
  • Women are valued primarily for their appearance and sexual appeal
• Limits the agency and complexity of female characters in film
• Has been challenged by feminist filmmakers who seek to create alternative modes of representation
• Continues to be a central concept in feminist film theory and criticism

Representation of Women in Cinema

• Historically, women have been underrepresented and misrepresented in film
  • Often relegated to stereotypical roles (the love interest, the mother, the femme fatale)
• Female characters are frequently defined in relation to male protagonists rather than as fully developed individuals
• Women's stories and experiences are often marginalized or excluded from mainstream cinema
• The Bechdel Test, created by Alison Bechdel, is a simple measure of women's representation in film
  • To pass, a film must have at least two named female characters who talk to each other about something other than a man
• Feminist film theory advocates for more diverse and nuanced representations of women on screen
  • Including women of color, LGBTQ+ women, and women of different ages and body types
• Seeks to create a cinema that reflects the complexity and diversity of women's lived experiences

Feminist Critique of Classic Hollywood

• Classic Hollywood cinema (1930s-1960s) is often seen as a prime example of the male gaze in action
• Female characters were frequently objectified and sexualized through costume, framing, and narrative
  • Examples include the femme fatale in film noir and the "bombshell" actresses of the 1950s (Marilyn Monroe, Jayne Mansfield)
• Women's stories were often subordinated to those of male protagonists
  • The "woman's film" genre was one of the few spaces where female-centered narratives were explored
• Behind the scenes, women were largely excluded from positions of power and creative control
• Feminist film theorists have critiqued the patriarchal nature of classic Hollywood and its impact on representations of women
• Have also sought to reclaim and reinterpret classic films from a feminist perspective

Alternative Filmmaking Practices

• Feminist filmmakers have developed alternative modes of production and representation that challenge dominant cinema
• Women's cinema emerged in the 1970s as a way for women to tell their own stories on their own terms
  • Directors like Chantal Akerman, Agnès Varda, and Sally Potter created films that explored female subjectivity and experience
• Documentary filmmaking has been an important tool for feminist filmmakers to capture women's lived realities
  • Examples include "Union Maids" (1976) and "The Woman's Film" (1971)
• Experimental and avant-garde cinema has allowed women to push the boundaries of form and content
  • Maya Deren, Barbara Hammer, and Trinh T. Minh-ha are notable examples
• Feminist film collectives and distribution networks have provided support and resources for women filmmakers
  • Women Make Movies, founded in 1972, is a prominent example
• Contemporary feminist filmmaking continues to evolve and expand, incorporating new technologies and platforms

Intersectionality in Feminist Film Theory

• Intersectionality recognizes that gender oppression intersects with other forms of marginalization (race, class, sexuality, disability)
• Feminist film theory has increasingly incorporated an intersectional approach
  • Acknowledges that women's experiences are not monolithic and are shaped by multiple identities
• Black feminist film theory has been particularly influential in this regard
  • Theorists like bell hooks and Kimberlé Crenshaw have analyzed the specific experiences of Black women in film
• Queer and trans perspectives have also expanded the scope of feminist film theory
  • Challenging binary notions of gender and sexuality in cinema
• Postcolonial and transnational approaches have examined the representation of women in a global context
  • Exploring issues of cultural imperialism, exoticism, and the gaze of the Western viewer
• Intersectional feminist film theory seeks to create a more inclusive and nuanced understanding of women's experiences in cinema

Contemporary Applications and Debates

• Feminist film theory continues to be a vital and evolving field of study
• The rise of digital media and streaming platforms has created new opportunities and challenges for feminist filmmaking
  • Increased accessibility and democratization of production
  • But also new forms of exploitation and marginalization
• The #MeToo movement has brought renewed attention to issues of sexual harassment and abuse in the film industry
  • Has led to calls for greater accountability and structural change
• Debates around the male gaze and objectification continue to be relevant in the age of social media and selfie culture
• Feminist film theory is increasingly intersecting with other areas of media studies
  • Television studies, video game studies, and digital media studies
• Contemporary feminist filmmakers are pushing the boundaries of form and content
  • Examples include Ava DuVernay, Céline Sciamma, and Chloé Zhao
• The future of feminist film theory will continue to be shaped by new voices, perspectives, and technologies