A Bibliography of Literary Theory, Criticism and Philology
by José Ángel García Landa
(University of Zaragoza, Spain)
Women and Film / Gender and Film
Top Ten
Miscellaneous
Top Ten
Creed, Barbara. The Monstrous Feminine: Film, Feminism, and Psychoanalysis. London: Routledge, 1993.*
de Lauretis, Teresa. Alice Doesn't: Feminism, Semiotics, Cinema. Bloomington: Indiana UP, 1984.*
Doane, Mary Ann. Femmes Fatales: Feminism, Film Theory, Psychoanalysis. New York: Routledge, 1991.
Dolan, Jill. The Feminist Spectator as Critic. U of Michigan P, 1988.
Haskell, Molly. From Reverence to Rape: The Treatment of Women in the Movies. 2nd ed. Chicago: U of Chicago P, 1987.
Humm, Maggie. Feminists and Film. Edinburgh: Edinburgh UP, 1997.
Kaplan, E. Ann. Women and Film: Both Sides of the Camera. New York: Methuen, 1983.
_____, ed. Psychoanalysis and Cinema. New York: Routledge, 1990.
Kuhn, Annette. Women's Pictures: Feminism and Cinema. London: Routledge, 1982.
Mulvey, Laura. Visual and Other Pleasures. Bloomington: Indiana UP, 1989.
Miscellaneous
Aguilar, Pilar. "9 El cine: Una mirada cómplice en la violencia contra las mujeres." In El sustrato cultural de la violencia de género: Literatura, arte, cine y videojuegos. Ed. Ángeles de la Concha. (Perspectiva feminista). Madrid: Síntesis, 2010.
Andrés Lacasta, José Alberto, ed. Cine y violencia contra la mujeres: Un enfoque caleidoscópico. 2020.
Arranz, Vidal. "El sexo en la era del género." Disidentia 22 Oct. 2020.* (Jonathan Glazer, Under the Skin).
https://disidentia.com/el-sexo-en-la-era-del-genero/
2020
Bergstrom, Janet. "Enunciation and Sexual Difference (Part One)." Camera Obscura 3/4 (Summer 1979): 32-69.
Bose, Brinda. "The Desiring Subject: Female Pleasures and Feminist Resistance in Deepa Mehta's Fire." Indian Journal of Gender Studies 7.2 (2000). 249-262.
Cavell, Stanley. "Psychoanalysis and Cinema: The Melodrama of the Unknown Woman." In Images in Our Souls: Cavell, Psychoanalysis, and Cinema. Ed. Joseph H. Smith and William Kerrigan. Baltimore: Johns Hopkins UP, 1987.
Clover, Carol J. "13. Her Body, Himself: Gender in the Slasher Film." In Gender, Language, and Myth: Essays on Popular Narrative. Ed. Glenwood Irons. Toronto, Buffalo, London: U of Toronto P, 1992. 252-302.*
Creed, Barbara. The Monstrous Feminine: Film, Feminism, and Psychoanalysis. London: Routledge, 1993.*
Colaizzi, Giulia. Feminismo y teoría fílmica.
Cornut-Gentille d'Arcy, Chantal. "Letting a Man Open the Door for You and Slamming It in His Face: Changing Gender Relations in British Situation Comedies of the Eighties and Nineties." In Culture and Power: (Mis)Representations.
Cowie, Elizabeth. "Women, Representation, and the Image." Screen Education 23 (Summer 1977): 15-23.
Darias Beautell, Eva, and María Jesús Hernáez Lerena, eds. Canon Disorders: Gendered Perspectives on Literature and Film in Canada and the United States. Logroño: U de La Rioja / U de La Laguna, 2007.
Davis, Amy. Good Girls and Wicked Witches: Women in Disney's Feature Animation. London: John Libbey, 2007.
de Lauretis, Teresa. "Imaging." In de Lauretis, Alice Doesn't: Feminism, Semiotics, Cinema. Bloomington: Indiana UP, 1984. 37-69. First version published in Cine-Tracts 11 (1980).
_____. "Through the Looking-Glass: Woman, Cinema, and Language." In de Lauretis, Alice Doesn't: Feminism, Semiotics, Cinema. Bloomington: Indiana UP, 1984. 12-36.
_____. "The Violence of Rhetoric: Considerations on Representation and Gender." Semiotica 54 (1985).
_____. Alice Doesn't: Feminism, Semiotics, Cinema. Bloomington: Indiana UP, 1984.*
Deleyto, Celestino. "Return to Austen: Film Heroines of the Nineties." In Refracting the Canon in Contemporary British Literature and Film. Ed. Susana Onega and Christian Gutleben. Amsterdam: Rodopi, 2004. 95-110.
Deming, Robert H. "Kate and Allie: 'New Women' and the Audience's Television Archive." Camera Obscura 16 (1988).
Doane, Mary Ann. "Female Spectatorship and Machines of Projection." In Doane, The Desire to Desire. London: Macmillan. 155-175.
_____. "Film and the Masquerade: Theorising the Female Spectator." Screen 23.3-4 (1982). Rpt. in Doane, Femmes Fatales.
_____. "The Women's Film: Possession and Address." In Re-Visions: Feminist Essays in Film Analysis. Ed. Mary Ann Doane, Patricia Mellencamp and Linda Williams. Los Angeles: American Film Institute; Frederick (MD): University Publications of America, 1984.
_____. The Desire to Desire: The Woman's Film of the 1940s. Bloomington: Indiana UP, 1987.*
_____. The Desire to Desire: The Woman's Film of the 1940s. (Language, Discourse, Society). London: Macmillan, 1987.* 1988.
_____. "The Female Spectator: Contexts and Directions." Camera Obscura: A Journal of Feminism and Film Theory 20/21 (May/Sept 1989): 5-27.
_____. "Masquerade Reconsidered: Further Thoughts on the Female Spectator." Discourse 11.1 (1988-9). Rpt. in Doane, Femmes Fatales. 33-43.
_____. Femmes Fatales: Feminism, Film Theory, Psychoanalysis. New York: Routledge, 1991.
Doane, Mary Ann, Patricia Mellencamp and Linda Williams, eds. Re-Visions: Essays in Feminist Film Criticism. Los Angeles: American Film Institute; Frederick (MD): University Publications of America, 1984.
Dolan, Jill. The Feminist Spectator as Critic. U of Michigan P, 1988.
Dole, Carol M. "The Return of Pink: Legally Blonde, Third-Wave Feminism and Having It All." In Chick Flicks: Contemporary Women at the Movies. Ed. Suzanne Ferris and Mallory Young. New York and Abingdon: Routledge, 2008. 58-79.*
Donnerstein, E., and L. Berkowitz. "Victim Reactions in Aggressive-Erotic Films as a Factor in Violence against Women." Journal of Personality and Social Psychology 41 (1981).
Dyer, Richard. "Never too Thin." Sight and Sound 3.12 (December 1993): 59.
Ellsworth, Elizabeth. "Illicit Pleasures: Feminist Spectators and Personal Best." Wide Angle 8.2 (1986): 45-56.
Espacios en espiral: Dossier: Cine, literatura y teatro de mujeres. Barcelona: Coordinadora Una Palabra Otra, 1994.
Evans, Peter W. "From Maria Montez to Jasmine: Hollywood's Oriental Odalisques." In "New" Exoticisms: Changing Patterns in the Construction of Otherness. Ed. Isabel Santaolalla. Amsterdam and Atlanta: Rodopi, 2000. 157-74.*
Ferris, Suzanne, and Mallory Young, eds. Chick Flicks: Contemporary Women at the Movies. New York and Abingdon: Routledge, 2008.
Fischer, Lucy. Shot / Countershot: Film Tradition and Women's Cinema. Princeton: Princeton UP, 1989.
Fletcher, John. "Primal Scenes and the Female Gothic: Rebecca and Gaslight." Screen 36 (1995): 341-70.
Flitterman, Sandy. "Woman, Desire, and the Look: Feminism and the Enunciative Apparatus in Cinema." In Theories of Authorship. Ed. John Caughie. (BFI Readers in Film Studies). London: Routledge, 1981. 1995. 242-50.*
Gabbard, Krin. "Men in Film." In Debating Masculinity. Ed. Josep M. Armengol and Angels Carabí. Harriman (TN): Men's Studies Press, 2009.
García Angulo, Lizara. "Les històries sobre dones van cremar a Alexandria." Ab Origine 17 March 2016.*
http://www.aboriginemag.com/les-histories-sobre-dones-van-cremar-a-alexandria/
2016
García Llop, Verónica María. "'Between Sisters': Female Characters in Frozen (2013)." TFG, dir. María del Mar Azcona Montoliú. Universidad de Zaragoza, Facultad de Filosofía y Letras, 2015.*
Garrett, Roberta. "Costume Drama and Counter-Memory: Sally Potter's Orlando." In Postmodern Subjects / Postmodern Texts. Ed. Jane Dowson and Steven Earnshaw. Amsterdam: Rodopi, 1995. 89-99.*
_____. Postmodern Chick Flicks: The Return of the Woman's Film. Basingstoke and New York: Palgrave Macmillan, 2004.
Hammetyt, Jennifer. "The Ideological Impediment: Feminism and Film Theory." Cinema Journal 36.2 (Winter 1997): 85-99.*
Hansen, Miriam. From "Pleasure, Ambivalence, Identification" ("Valentino and Female Spectatorship"). Cinema Journal 25.4 (Summer 1986). Shorter version (1991) in Film Theory and Criticism: Introductory Readings. 5th ed. Ed. Leo Braudy and Marshall Cohen. New York: Oxford UP, 1999. 584-601.*
Haskell, Molly. From Reverence to Rape: The Treatment of Women in the Movies. 2nd ed. Chicago: U of Chicago P, 1987.
_____. From From Reverence to Rape ("Female Stars of the 1940s"). 1974. In Film Theory and Criticism: Introductory Readings. 5th ed. Ed. Leo Braudy and Marshall Cohen. New York: Oxford UP, 1999. 562-75.*
Humm, Maggie. "Modernist Women and Cinema." In Fifty Years of English Studies in Spain […] Actas del XXVI Congreso de AEDEAN, ed. Ignacio Palacios et al. Santiago de Compostela: U de Santiago de Compostela, 2003. 47-62.*
_____. Feminists and Film. Edinburgh: Edinburgh UP, 1997.
Johnston, Claire. "Women's Cinema as Counter-Cinema." In Johnston, Notes on Women's Cinema. 24-31.
_____. "Feminist Politics and Film History." Screen 16.3 (1975): 115-24.
_____. "The Subject of Feminist Film Theory/Practice." Screen 21 (Summer 1980).
_____, ed. Notes on Women's Cinema. London: SEFT, 1974.
Kaplan, E. Ann. Women and Film: Both Sides of the Camera. New York: Methuen, 1983.
_____, ed. Women in Film Noir. 1978. London: BFI, 1980.
_____, ed. Psychoanalysis and Cinema. New York: Routledge, 1990.
Karlyn, Kathleen Rowe. Unruly Girls, Unrepentant Mothers: Redefining Feminism on Screen. Austin (TX): U of Texas Press, 2011.
Kuhn, Annette. Women's Pictures: Feminism and Cinema. London: Routledge, 1982.
"La producción de la imagen de la mujer en el cine contemporáneo de Hollywood." XVI Congreso de la Asociación Española de Estudios Anglo-Norteamericanos. Valladolid: Secretariado de Publicaciones de la Universidad de Valladolid, 1994.
Lawrence, Arny. Echo and Narcissus: Women's Voices in Classical Hollywood Cinema. (Voice-over).
Lesage, Julia. "Feminist Film Criticism: Theory and Practice." Women and Film 5/6 (1974): 12-14.
_____. "Feminism and Film: Critical Approaches." Camera Obscura 1 (Fall 1976): 3-10.
Manatu, Norma. African American Women and Sexuality in the Cinema. North Carolina: McFarland, 2002.
Martín, Sara. "De padre a hijo: la transmisión del discurso patriarcal en el cine de Hollywood (1977-2007)." In Género y cultura popular. Ed Isabel Clúa. Bellaterra: Edicions UAB, 2008.
Maza, Ana Rosa. "La vejación a la mujer ha sido un motor narrativo en la cinematografía." Rev. of Cine y Violencia contra las mujeres. Ed. José Alberto Andrés Lacasta. Diario del Alto Aragón 5 March 2020: 33.*
http://prensa.unizar.es/noticias/2003/200309_h0_DAlt_vejM.pdf
2020
Mellen, Joan. Women and Their Sexuality in the New Film. New York: Horizon, 1974.
_____. From Women and their Sexuality in the New Film ("The Mae West Nobody Knows"). 1973. In Film Theory and Criticism: Introductory Readings. 5th ed. Ed. Leo Braudy and Marshall Cohen. New York: Oxford UP, 1999. 576-83.*
Modleski, Tania. Loving with a Vengeance: Mass-Produced Fantasies for Women. Hamden (CT): Archon, 1982.
_____. Loving with a Vengeance: Mass-Produced Fantasies for Women. 1982. New York: Routledge, 1990.
_____. "Never To Be Thirty-Six Years Old: Rebecca as a Female Oedipal Drama." Wide Angle 5.1 (1982): 34-41.
_____. "Time and Desire in the Woman's Film." Cinema Journal 24 (Spring 1984): 19-30.
_____. "The Terror of Pleasure: The Contemporary Horror Film and Postmodern Theory." 1986. In Film Theory and Criticism: Introductory Readings. 5th ed. Ed. Leo Braudy and Marshall Cohen. New York: Oxford UP, 1999. 691-700.*
_____. "Rape vs. Mans/laughter: Blackmail." In Modleski, The Women Who Knew Too Much: Hitchcock and Feminist Film Theory. New York: Methuen, 1988.
_____. The Women Who Knew Too Much: Hitchcock and Feminist Film Theory. New York: Methuen, 1988.
Mulvey, Laura. "Visual Pleasure and Narrative Cinema." In A Critical and Cultural Theory Reader.1975. Ed. Anthony Easthope and Kate McGowan. Buckingham: Open UP, 1992. 158-75.
_____. "Visual Pleasure and Narrative Cinema." Rpt. in Popular Television and Film. Ed. T. Bennett et al. London: Open UP / BFI, 1989.
_____. "Visual Pleasure and Narrative Cinema." 1975. In Film Theory and Criticism: Introductory Readings. 5th ed. Ed. Leo Braudy and Marshall Cohen. New York: Oxford UP, 1999. 833-44.*
_____. "Feminism, Film and the Avant-Garde." Framework 10 (1979): 3-10.
_____. Visual and Other Pleasures. Bloomington: Indiana UP, 1989.
Ochoa Sobrino, Esther. "'A Pink Girl in a Brown World': Neo-Feminism in Legally Blonde (2001)." TFG, dir. María del Mar Azcona Montoliú. Universidad de Zaragoza, Facultad de Filosofía y Letras, 2017.*
Penley, Constance, ed. Feminism and Film Theory. New York: Routledge, 1988.
Pollock, Griselda. "What's Wrong with Images of Women." Screen Education 23 (Summer 1977): 25-33.
Pribram, E. Deirdre, ed. Female Spectators: Looking at Film and Television. London: Verso, 1988.
Radner, Hilary. Neo-Feminist Cinema: Girly Films, Chick Flicks, and Consumer Culture. London: Routledge, 2011.
Rich, B. Ruby. Chick Flicks: Theories and Memories of the Feminist Film Movement. Durham (NC): Duke UP, c. 1999.
Rosen, Marjorie. Popcorn Venus: Women, Movies, and the American Dream. New York: Avon; London: Peter Owen, 1973.
Sangro, Pedro, and Juan F. Plaza, eds. La representación de las mujeres en el cine y la televisión contemporáneos. Barcelona: Laertes, 2010.
Santaolalla, Isabel. "Bodyscapes of Silence: The Figure of the Mute Woman in the Cinema." Journal of Gender Studies 7.2 (1998): 53-61.*
Schlesinger, Philip, et al. Women Viewing Violence. London: BFI, 1992.
Sheckels, Theodore F. "Chapter 4: A Woman's Role." In Sheckels, Celluloid Heroes Down Under: Australian film 1970-2000. Westport (CT) and London: Praeger, 2002. 75-118.*
Shoos, Diane L. Domestic Violence in Hollywood Film: Gaslighting. Houghton: Palgrave Macmillan, 2017.
Silverman, Kaja. "Dis-Embodying the Female Voice." In Re-Vision: Essays in Feminist Film Criticism. Ed. Mary Ann Doane, Patricia Mellencamp and Linda Williams. Frederick (MD): University Publications of America, 1984.
_____. The Acoustic Mirror: The Female Voice in Psychoanalysis and Cinema. Bloomington: Indiana UP, 1988.
Sonnet, Esther. "Representing 'Others': Postmodernist Epistemology-Film and Female Spectatorship." In Postmodern Subjects / Postmodern Texts. Ed. Jane Dowson and Steven Earnshaw. Amsterdam: Rodopi, 1995. 219-36.
The Spectatrix. Special issue of Camera Obscura 20-21 (1989).
Stacey, Jackie. Star Gazing: Hollywood Cinema and Female Spectatorship. London: Routledge, 1994.
Stephenson, Graham L. "'Cut Off a Wolf's Head and It Still Has the Power to Bite!': The Empowering Heroines of Ghibli." BA. Hon. Diss. York St John U 2016.*
https://www.academia.edu/35327581/
2020
Todd, Janet, ed. Women and Film. Holmes and Meier, 1988.
Treviño López, Isabel. "Women on the Move: The Representation of Mobile Professional Women in 21st Century Cinema." Ph.D. diss. U of Zaragoza, 2023.
Turim, Maureen. "Women's Films: Comedy, Drama, Romance." In Chick Flicks: Contemporary Women at the Movies. Ed. Suzanne Ferris and Mallory Young. London: Routledge, 2008. 26-41.
Vandermassen, Griet. "Woman as Erotic Object in Mainstream Cinema: A Darwinian Inquiry into the Male Gaze." The Evolutionary Review 1 (2010): 69-75.*
Vidal, Belén. "Playing in a Minor Key: The Literary Past through the Feminist Imagination." In Books in Motion: Adaptation, Intertextuality, Authorship. Ed. Mireia Aragay. Amsterdam and New York: Rodopi, 2005. 263-85.*
Williamson, Catherine. "'Draped Crusaders': Disrobing Gender in The Mark of Zorro." Cinema Journal 36.2 (Winter 1997): 3-16.*
Wolfreys, Julian. "Feminist Film Studies and Film Theory." In The Edinburgh Encyclopaedia of Modern Criticism and Theory. Ed. Julian Wolfreys et al. Edinburgh: Edinburgh UP, 2002. 591-98.*
"Women and Film: A Discussion of Feminist Aesthetics." New German Critique 13 (1978).
Wright, Elizabeth. "What Does Woman Want? The Double Life of Véronique." In Wright, Speaking Desires Can Be Dangerous. Cambridge: Polity Press, 1999. (Krysztof Kieslowski).
Anthologies
Kay, Karyn, and Gerald Peary, eds. Women and Cinema: A Critical Anthology. New York: Dutton, 1977.
Thornham, Sue, ed. Feminist Film Theory: A Reader. Edinburgh: Edinburgh, 1999.
Journals
Camera Obscura: A Journal of Feminism and Film Theory 20/21 (May/Sept 1989).
Video
Lomba, Concha, et al. "El género en la mirada II. Investigaciones del IPH." Video. YouTube (Instituto de Patrimonio y Humanidades. Unizar) 7 March 2023.* (Stereotypes; Women scriptwriters, Janet Alcoriza; feminist criticism and women writers).
https://www.youtube.com/live/ezE2Q8tO0io
2023
See also Romantic comedy.
