CONTENTS
I. Critical Methodology: Women and Representation
There’s More to a Positive Image Than Meets the Eye
The Place of Woman in the Cinema of Raoul Walsh
Visual Pleasure and Narrative Cinema
Theorizing the Female Spectator
Hitchcock, Feminism, and the Patriarchal Unconscious
Can We Enjoy Alternative Pleasure?
Pre-text and Text in Gentlemen Prefer Blondes
Lucie Arbuthnot and Gail Seneca
The Case of the Missing Mother
Maternal Issues in Vidor’s Stella Dallas
“Something Else Besides a Mother”
Stella Dallas and the Maternal Melodrama
Recollection and Romance in Letter from an Unknown Woman
Feminist Spectators and Personal Best
White Privilege and Looking Relations
Race and Gender in Feminist Film Theory
III. Critical Methodology: Feminist Filmmaking
The Political Aesthetics of the Feminist
Feminism, Film, and Public History
In the Name of Feminist Film Criticism
Aesthetics and Feminist Theory
Dis-Embodying the Female Voice
IV. Assessing Films Directed by Women
Florence Jacobowitz and Lori Spring
Desperately Seeking Difference
Female Narration, Women’s Cinema
Helke Sander’s The All-Round Reduced Personality/Redupers