INDEX

A page number in italics indicates a photograph.

Adam’s Rib (film), 16, 48, 114-15

Adams, Brooke, 360

Adorno, Theodor, 198

“Aesthetics and Politics” (Eagleton), 210n.3

Affron, Charles, 44

African-Americans. See Blacks

“Afterthoughts” (Mulvey), xxi, 91n.44, 369

Akerman, Chantal, 292-93, 307n.9. See also specific films

Alcott, Louisa May, 10

Alice Doesn’t (de Lauretis), xxi, 59, 371

Alice Doesn’t Live Here Anymore (film), 330-31, 337-39

All About Eve (film): Addison in, 372; Bill in, 372, 374; Birdie in, 373; competition in, 120; Eve in, 332, 371-74; identity and identification in, 371, 372, 373-74; Karen in, 372; Lloyd in, 372; the look in, 371; Margot in, 332, 372-74; Phoebe in, 374; pleasure in, 370, 372, 374; spectatorship in, 332, 371-72, 373, 374, 378

All-Round Reduced Personality (film). See Redupers (film)

Alternative cinema. See Counter-cinema

Althusser, Louis, 199-200

American feminist film criticism, 277, 278, 279. See also Feminist film criticism; specific headings

American Graffiti (film), 347, 349

American in Paris, An (film), 108

American Parade (film), 9-10

Anna Christie (film), 114

Anti-illusionism, 251. See also Illusionism

April in Paris (film), 108

Apropos of Fate (film), 314

Arbuthnot, Lucie, 85, 94-95

Archaeology of Knowledge (Foucault), 326n.2

Are You Listening? (film), 16

Arquette, Rosanna, 332, 374

Artel, Linda, xvii, 2

Art of Age (film), 16

Arzner, Dorothy, xix, 342, 343. See also specific films

Auteur film criticism, defined, 3

Authorship, 26

Autobiographies, 262

Avant-garde films, 83, 269, 303. See also Correspondence films; Counter-cinema

Babies and Banners (film): Genora in, 242, 246; Lillian in, 242; mass culture in, 245; montages in, 242; old persons in, 244-45; patriarchy in, 246; politics in, 244; strike in, 240, 242; talking heads in, 217, 240, 241, 242. See also Documentaries

Backer, Brian, 351

Band of Angels (film), 19, 20-21. See alsoWalsh, Raoul, films of

Barry, Kathleen, 414

Barthes, Roland, 108, 178

Bates, Alan, 338

Baudrillard, Jean, 106-7

Baudry, Jean-Louis, 90n.30

Baxter, Anne, 332, 371

Beauvoir, Simone de, 138. See also specific works

Becker, Edith, 85

Bellour, Raymond: and classic narrative films, 59, 367; and Hitchcock films, 70, 367; and masochism, 332; and spectatorship, 367

Benjamin, Walter, 254

Bergstrom, Janet, xxi. See also specific works

Berkeley, Busby, 77

Bettetini, Gianfranco, 310

Beyond the Forest (film), 51

Beyond the Male Myth (Pietropinto and Simenauer), 174

Big Bad Wolves (Mellen), 277

Birds, The (film), 59, 62. See also Hitchcock, Alfred, films of

Bisexuality: characteristics of, 66-67; and Cixous, 48; and Freud, 48, 63, 67; and Koch, 63, 65; and Lesage, 62-63; and Mayne, 62-63; and motherhood and mother/daughter relationship, 62, 63; and B. Ruby Rich, 62-63; and spectatorship, 6, 62-63; and A. Taylor, 62-63

Blacks: and classic narrative films, 82-83; as filmmakers, 7, 82-83; and Gaines, 7; and rape, 210; and sexism, 213n.33; and sexuality, 209; and Spillers, 209

Blondell, Joan, 109

Blonde Venus (film), 113

“Body, Voice” (Heath), 326n.6

Boetticher, Budd, 33

Boles, John, 147

Bonitzer, Pascal, 310-11, 312

Bonomo “Original” Hollywood “Success Course” (manual), 109-10

Boran Women (film), 14

Borden, Lizzie, 301, 302. See also specific films

Born in Flames (film): and Borden, 301, 302; class structure in, 297, 298, 300, 301, 302, 304; distance vs. proximity in, 297, 303; Honey in, 303, 304; identification in, 305; language in, 302; lesbianism in, 304; originality of, 219, 300; race in, 297, 298, 300, 301, 302, 304; sexual differences in, 297, 298, 300, 301, 302, 304; spectatorship in, 297-98, 301, 302-3, 304-5; voices in, 197

Bourdin, Guy, 204

Bovenschen, Sylvia, 49. See also specific works

Bowery, The (film), 19, 20. See also Walsh, Raoul, films of

Brecht, Bertolt, 81-82, 254

Brewster, Ben, 129

British feminist film criticism: characteristics of, 277, 279; elitism of, 81; and passivity, 219; and psychoanalytic theory, 79. See also Feminist film criticism

Britton, Andrew, 359

Bronco Billy (film), 339-40

Brooks, Peter, 159n.7

Buddy movies, 33

Burch, Noël, 43, 45

Burstyn, Varda, 339, 359

Burton, Julianne, 284, 285

Cahiers du cinéma (journal), 22-23, 26, 77

Camera Obscura (journal), xx

Career films, 10

Careers (film), 16

Castration: complex, 32; and Mulvey, xix-xx, 77; and phallocentrism, 28; and psychoanalytic theory, 35; and scopophilia, 4; and spectatorship, 47; and voyeurism, 4

Cates, Phoebe, 350

Catt, Carrie Chapman, 17

Caught (film), 370

Cavell, Stanley, 346

Celine and Julie Go Boating (film), 282-83

Ce sexe qui n’en est pas un (Irigaray), 145

Channing, Carol, 102

Chicago, Judy, 232

Chicago Maternity Center Story, The (film), 227, 233

Chilly Scenes of Winter (Beattie), 345-46

Chilly Scenes of Winter (film), 345-46

Chodorow, Nancy, 96-97, 154. See also specific works

Cinema, and technology, 29, 80, 381. See also specific headings

Cinema novo, 284

Cinéma vérité: characteristics of, 236n.7; and documentaries, 216, 229, 239; and Martineau, xviii; purposes of, 229. See also Validative films

Citron, Michelle, 85. See also specific films

Cixous, Hélène: and bisexuality, 48; and creativity, 89n.l9; and sexual differences, 64; on the Don Juan, 174. See also specific works

Classic narrative films: and Bellour, 59, 367; and black women filmmakers, 82-83; characteristics of, 26, 33; and de-naturalization, 26-27; and the erotic, 30; and feminism, 339, 341-42; and heterosexuality, 63; and identification, 115-16; and the look, 200, 309, 365, 421; and masochism, 59, 367; and mirror stage, 31-32; and motherhood, 127-28; and narcissism, 31-32; and patriarchy, 30, 38, 65, 127, 200, 367; and pleasure, 30-32, 38, 123, 200, 353, 365, 367; and sadism, 59; and scopophilia, 30-32, 38; and spectatorship, 251, 353, 365, 367; and voice-overs, 314; and voices, 310, 312, 313; and voyeurism, 31, 59. See also Realism; specific films

Class structure, xxiii, 202, 412-13

Clichés, defined, 50

“Compulsory Heterosexuality and Lesbian Existence” (A. Rich), 145-46

Conference on the Politics of Sexuality, 75

Consciousness-raising groups: and Lesage, 241; purposes of, 222, 230, 231; structure of, 235; and talking heads, 240-41

Cook, Pam: and Lacan, 2; and melodramas, xxii; and psychoanalytic theory, 2; and semiotics, xvii, 2; and Walsh films, xvii, 3; and woman’s films, xxii

Corrective realism films, 283. See also Realism

Correspondence films, 280-81. See also Avant-garde films

Counter-cinema: and Arzner, xix; and Brecht, 81-82; characteristics of, 83; and deconstruction, 252, 253; defined, 217-18, 251; and Gaines, 7; and C. Johnston, xviii, 217-18; and Kuhn, xix; and the look, 39; and Mulvey, 141-42, 155, 252; and pleasure, 155; purposes of, xviii-xix, 29, 39, 82, 251, 252. See also Avant-garde films

Cowie, Elizabeth, 18

Crawford, Joan, 51, 84

Critical subjectivity, defined, 334, 404n.1

Daly, Mary, 403

Dance, Girl, Dance (film), 303-4. See also Arzner, Dorothy

Dark Victory (film), 51

Daughter Rite (film): autobiographical elements in, 261-62; characteristics of, 218; discourse in, 259-60, 261-63; distance vs. proximity in, 262-63; documentary in, 261-62, 382; mother/daughter relationship in, 158n.2; as reconstructive film, 281-82; spectatorship in, 262, 263

Davis, Angela, 203

Davis, Bette, in All About Eve, 51, 332, 372, 373

Day in the Life of Bonnie Consolo, A (film), 15

De Carlo, Yvonne, 20

De Cierta Manera (film), 218, 255-57

Deconstruction: and Brecht, 254; characteristics of, 253-54, 259, 265; and counter-cinema, 252, 253; and Gledhill, 285; and C. Johnston, 217-18; and Kuhn, 217; and Love, 285; and Mulvey, 252; purposes of, 253, 258

De Lauretis, Teresa: and class structure, xxiii; and discursive self-production, 184; and ethnicity, xxiii; and Jeanne Dielman, 219; and race and racism, xxiii; on romantic goals, 169; and sexual differences, xxiii; and spectatorship, 59, 63, 170-71, 176. See also specific works

De-naturalization, 26-27

Desire to Desire, The (Doane), 171

Desperately Seeking Susan (film): Jim in, 376; the look in, 375; pleasure in, 370, 375, 377; Roberta in, 332, 374-76, 377-78; spectatorship in, 375-76, 378; Susan in, 374-75, 376-77

Deux Fois (film), 113

Diaries, 389-90

Diary of a Country Priest (film), 170

Diegetic, defined, 311

Dietrich, Marlene: in Blonde Venus, 113; and Bovenschen, 49; clothing of, 118; and masquerade, 49; in Morocco, 77, 113; Mulvey on, 63; and objectification, 112; in Sternberg films, 35-36, 67

“Difficulty of Difference, The” (Rodowick), 66

Dinnerstein, Dorothy, 127

Discourse. See Language; Sound; Voice-overs; Voices

Discursive fellowships, 309, 326n.2

Discursive self-production, defined, 184

Dishonoured (film), 36. See also Sternberg, Josef von, films of

Distance vs. proximity: and Doane, 64-65; and French feminist film criticism, 45-46; and Irigaray, 46, 47; and masquerade, 49. See also Spectatorship

Distanciation. See Distance vs. proximity

Doane, Mary Ann: and distance vs. proximity, 64-65; and essentialism, 78; and lesbianism, 370; and marginality, 332; and masquerade, 5; and narcissism, 169; and over-identification, 97, 154-55; and sexual differences, 368; and spectatorship, 5, 64, 84, 154-55, 367-68; and voices, 311; and women’s films, 84, 149, 171-72. See also specific works

Documentaries: and autobiographies, 262; background of, 222-23; characteristics of, xviii, 83, 216, 222, 223-24; and cinéma vérité, 216, 229, 239; effects of, 223; and femininity, 233; and identity, 223; and Lesage, xviii, 216-17; and Martineau, xviii; and Michel, 217; and montages, 239; and patriarchy, 234; purposes of, xviii, 216-17, 231; and realism, xviii, 223, 239; and self-reflexive films, 239; structure of, 229-30, 235; and talking heads, xviii, 216, 233-34; and voice-overs, 311; and voices, 234, 235, 311. See also specific films

“Documentary, Realism and Women’s Cinema” (McGarry), xviii

Dominant cinema. See Classic narrative films

Donnelly, Patrice, in Personal Best, 189, 193, 194-95, 195n.l

Double life, defined, 115

Douglas, Melvyn, 355

Dreams, 69

Dynasty (television show), 190

Eastwood, Clint, 340

Ebony (magazine), 207

Ecriture féminine, 145. See also Feminine writing

Ego, 32

Ego libido, defined, 38

Eleanor Roosevelt Story, The (film), 15

Ellsworth, Elizabeth, 85, 98-99

Emerson, John, 101

Emiotic, defined, 146

Empty Suitcases (film), 220, 320-21

Encyclopedic Dictionary of the Sciences of Language (Ducrot and Todorov), 43, 55n.5

“Enunciation and Sexual Difference” (Bergstrom), 67

Enunciators, defined, 378n.9

Epic theater, 254, 256, 257

Erotic and eroticism, 30, 77

Essentialism, 78, 161n.33

Ethnicity, xxiii

Exchange of images, 26

Exhibitionism, xx

Exotic, 77-78

Eyes of a Stranger (film), 347, 349

Eyes of Laura Mars, The (film), 84

Fantasy, 87

Fast Times at Ridgemont High (film): abortion in, 351; Brad in, 350, 351; characters in, 348; homosexuality in, 348; hunters vs. hunted in, 348; Linda in, 350; the look in, 350; Mark in, 351; Mike in, 350; parents in, 347-48; sex in, 347, 348, 349-50, 351; spectatorship in, 331, 349; Spicoli in, 350; Stacey in, 349, 351

Fehervary, Helen, 298

Feminine writing, 259, 264-65. See also Ecriture feminine

Femininity: characteristics of, 54, 55; and documentaries, 233; and Freud, 67, 369; and language, 259; and melodramas, 179; and Mulvey, 59

“Femininity” (Freud), 41-42, 47

Feminism, 339, 341-42. See also specific headings

Feminist film criticism: background of, xvi; characteristics of, xvi, 197, 297; crisis in, 78; purposes of, xxi, 2, 26; types of, 276. See also American feminist film criticism; British feminist film criticism; French feminist film criticism; specific headings

Feminist films: background of, 270-72; characteristics of, 291-92, 294, 301-2; purposes of, 295-96, 306; types of, 280-84. See also specific headings

“Feminist Perspectives on Pornography” (conference), 336n.11

Feminization of poverty, 298-99

Femme fatale, 49. See also Masquerade

Fetishism: causes of, 47; defined, 77; and eroticism, 77; Freud on, 77; Jones on, 77; Metz on, 162n.55; Mulvey on, xx, xxi; and pleasure, 156; and spectatorship, 77

Fields, Joseph, 102

Film About a Woman Who (film): autobiographical elements in, 261; as correspondence film, 281; and Henderson, 275; intertitles in, 317; voice-overs in, 317; voices in, 316-18, 320; and Wikarska, 275; women’s bodies in, 220

Films, and technology, 29, 80, 381. See also specific headings

Firestone, Shulamith, 164, 168

Fischer, Lucy, 77, 84, 97

Flashdance (film), 85, 86

Fonda, Henry, 22-23

Fontaine, Joan, 164

Footlight Parade (film), 109

Foucault, Michel, 55, 309. See also specific works

frauen und film (journal), 383

Free to Be You or Me (film), 15

French feminist film criticism, 45-46, 78, 161n.33. See alsoFeminist film criticism

French Line, The (film), 108

Freud, Sigmund: and Bergstrom, xxi; on bisexuality, 48, 63, 67; on dirty jokes, 53; on dreams, 69; on ego, 32; on femininity, 67, 369; on fetishism, 77; and Heine, 41-42; and Kaplan, 81; and Lacan, 68; on libido, 32; and Marxist theory, 81; and Mitchell, 79; on motherhood and mother/daughter relationship, 143, 156, 176; and Mulvey, xix; on Oedipus complex, 372; and Pollock, 89n.23; reactions to, 80; and Rose, 79; on scopophilia, 30-31, 53; on sexual differences, 46-47; and the “subject supposed to know,” 46. See also Psychoanalytic theory; specific works

Friday, Nancy, 175

Friedberg, Anne, 301, 304, 305

Frith, Simon, 206

From Reverence to Rape (Haskell), xvi-xvii

Frye, Northrop, 169

“Fudge” (LeSueur), 391-92

Funny Face (film), 108

Gable, Clark, 20

Gaines, Jane, xxiii, 6-7, 99

Gallop, Jane, 147, 161n.29

Garbo, Greta, 112, 114

Garfield, John, 51, 84

Gaze, the. See Look, the

Gender. See Sexual differences

Gentile, Mary C., 333-34

Gentlemen Prefer Blondes (film): Arbuthnot on, 85, 94-95; background of, 101-2, 109; Barthes on, 108; camera and lighting in, 95, 118-19, 121; capitalism in, 107; closure in, 106; commodity exchange in, 77, 94, 102, 105-7, 110; Dorothy in, 85, 95, 102, 104, 105, 106, 112, 116-18, 119-20, 121-23; embedding in, 103; as feminist text, 112, 113, 118, 123; fetishism in, 104, 110; France in, 108; friendship in, 95, 102, 104-5, 111, 113, 116, 119-23; and Hawks, 104-5; the look in, 95, 116-17, 119, 121, 200; Lorelei in, 85, 94, 95, 102, 104, 105-6, 107, 108, 109, 112, 116-20, 121-23; Marxist criticism of, 94; narrative vs. songs in, 103, 104, 105, 116, 118-19, 121, 122-23; objectification in, 94, 95, 101, 103, 105, 106, 116-19, 120, 121, 122; oppositions in, 94, 103, 104, 110, 122; Piggy in, 107, 121; pleasure in, 95, 110, 112-13, 123; pre-text in, 116, 118-19, 120, 122; racism in, 108; “reading against the grain” analysis of, xx, 95; sadism in, 118; satire in, 94, 103, 106, 107; semiotic layering in, 109; and Seneca, 85, 94-95; strength in, 112-13, 117, 119; text in, 116, 118, 119, 120, 122; Turim on, 77, 94; voyeurism in, 85, 103-4; women’s bodies in, 106

Gentlemen Prefer Blondes (Loos), 101

Gigi (film), 108

Girlfriends (film): competition in, 120; friendship in, 113; marriage in, 344, 345

Glasses, 50. See also Look, the

Gledhill, Christine, xix, 142, 285

Godard, Jean-Luc, 81, 239. See also specific films

Going in Style (film), 364n.2

Goldfarb, Lyn, 248

Gordon, Bette, 335. See also specific films

Gordy, Berry, 206

Gothic novels, 86

Griffin, Susan, 409, 414

Guevara, Alfredo, 286

Hall, Stuart, 207, 210

Hansen, Miriam, xxi

Harlequin novels, 86

Harry and Tonto (film), 364n.2

Haskell, Molly: on buddy movies, 33; on Hitchcock films, 72n.10; on over-identification, 47, 65; on Stella Dallas, 162n.47; on women’s films, 283. See also specific works

Hawks, Howard, 104-5. See also specific films

Heath, Stephen: and authorship, 26; on avant-garde films, 303; on Letter from an Unknown Woman, 175; and voices, 310, 326n.4. See also specific works

Heavenly Bodies (Dyer), xxii

Hegemony. See Patriarchy

Heilbrun, Carolyn, 285

Heine, Heinrich, 41-42

Hemingway, Mariel, in Personal Best, 189, 190, 193, 195n.l

Henderson, Brian, 275

Hepburn, Katherine, 112, 114-15

Heresies (journal), 76

Heterosexuality, 63, 304

Hey Doc (film), 10

Hieroglyphic, 43, 55n.5

High Sierra (film), 19. See also Walsh, Raoul, films of

Hitchcock, Alfred, films of: ambivalence in, 60-61, 62, 67, 72n.l0; Bellour on, 70, 367; bisexuality in, 65, 67; eroticism in, 36-37; femininity in, 60; Haskell on, 72n.l0; identity and identification in, 61, 65; the look in, 35, 367; matrophobia in, 71; misogyny in, 6; Modleski on, 5-6; Mulvey on, 4; patriarchy in, 60, 61; scopophilia in, 36; spectatorship in, 61-62, 65; violence in, 65; voyeurism in, 36, 70-71; women in, 6; Wood on, 59—60. See also specific films

Holliday, Judy, 114-15

Hollywood films. See Classic narrative films

Hooks, Bell, 198-99

Horney, Karen, 161n.29

Horror films, 50, 84

How to Say No to a Rapist (film), 10

Humoresque (film), 51, 84

Hunger Years (film), 314

Hysteria, defined, 69

Iconic signs, 43

Identity and identification, 115-16, 223, 290. See also Over-identification; Positive identification

Illusionism, 250-51

Image studies, xvii. See also Positive images

“Imaginary Signifier, The” (Metz), 199

Imitation of Life (film), 128

Incoherent texts, defined, 354

Instincts and Their Vicissitudes (Freud), 30

Interpretation of Dreams, The (Freud), 80

Irigaray, Luce, 46, 47, 179. See also specific works

“Is There a Feminist Aesthetic?” (Bovenschen), xix, 288-90

Jacobowitz, Florence, xix, 331

Janie Sue and Tugaloo (film), 14-15

Jardine, Alice, 69

Jeanne Dielman (film): Akerman on, 292-93, 307n.9; characteristics of, 218, 292; as correspondence film, 281; de Lauretis on, 219; discourse in, 259-60, 264; distance vs. proximity in, 263, 264, 307n.9; housework in, 264, 273, 292-93; Mekas on, 274; Michelson on, 274; realism in, 218, 274; spectatorship in, 219, 263, 264, 292-93, 307n.9; Taubin on, 274

Johnny Dangerously (film), 351n.l

Johnson, Richard, 183

Johnston, Claire: and counter-cinema, xviii, 217-18; on death, 51; and deconstruction, 217-18; and Lacan, 2; on the look, 140; and phallocentrism, 277; on pleasure, 259; and psychoanalytic theory, 2; on realism, xvii; on Walsh films, 3. See also specific works

Johnston, Sheila, 397

Jokes, dirty, 53

Jones, Allan, 77

Joseph, Gloria, 212n.21

Jourdan, Louis, 164

Journeys from Berlin/71 (film), voices in, 220, 315, 321-25. See also Rainer, Yvonne, films of

Joyce at 34 (film), 10

Julia (film), 113

Jump Cut (journal), xvii

Kaplan, E. Ann: on avant-garde films, 83; on Freud, 81; on motherhood and mother/daughter relationship, 96; and psychoanalytic theory, 81; on Stella Dallas, 96, 151, 152, 153, 162n.42; on voyeurism, 80. See also specific works

Kaplan, Nelly, 277

Kedrova, Lila, 355

Keitel, Harvey, 338

Kidco (film), 347

King, Billie Jean, 187

King and Four Queens, The (film), 19, 21. See also Walsh, Raoul, films of

Kleinhans, Chuck, 87

Koch, Gertrud: on bisexuality, 63, 65; on the look, 295; on spectatorship, 385; on voyeurism, 63

Kofman, Sarah, 46

Kolodny, Annette, 83-84

Kramer versus Kramer (film), 135

Kristeva, Julia: on the emiotic, 146; on motherhood and mother/daughter relationship, 63-64, 146-47, 155; on sexual differences, 146, 147; and signifying practice, 90n.33; on the symbolic, 146

Kristina Talking Pictures (film), 275, 317, 320. See also Rainer, Yvonne, films of

Kristofferson, Kris, 338

Kuhn, Annette, xix, 217

Lacan, Jacques: Cook on, 2; on Freud, 68; C. Johnston on, 2; and mirror stage, 23, 31, 68; Mulvey on, xix; and Revolt of Mamie Stover, 23; and sexual differences, 141. See also Psychoanalytic theory

Landy, Marcia, 84

Lange, Dorothea, 231

Language, 259, 327n.15. See also Sound; Voice-overs; Voices

“Laugh of the Medusa, The” (Cixous), 282

Law of the Father. See Patriarchy

Leab, Daniel, 248

Leave Her to Heaven (film), 51

Leigh, Jennifer Jason, 349

Lesage, Julia: on bisexuality, 62-63; and consciousness-raising groups, 241; and documentaries, xviii, 216-17; on fantasy, 87; on lesbianism, 85; on oral history, 249n.l3; on realism, xviii; on sexuality, 244; on talking heads, 240, 241

Lesbianism: Becker on, 85; Citron on, 85; Doane on, 370; Lesage on, 85; and the look, 7; and pornography, 110-11; B. Ruby Rich on, 85; and spectatorship, 84, 85; Straayer on, 85

Letter from an Unknown Woman (film): amnesia in, 173, 175-76, 178; castration evoked in, 176; characteristics of, 97-98; and Fischer, 97; and Heath, 175; hysteria in, 172-73; Johann in, 172, 176, 180n.9; Lisa in, 98, 164, 167-68, 169, 170-73, 174-79, 180n.9, 314; the look in, 171, 175-76; love in, 164, 167, 168-71, 176, 177, 179, 180n.9; master/slave relationship in, 169, 170; Modleski on, 171, 172-73, 174, 176; motherhood in, 174-75, 176, 179; V. F. Perkins on, 167; plot of, 164, 180n.9; reading in, 178; religion in, 170, 172; spectatorship in, 170, 171; Stefan in, 98, 164, 167, 168-69, 170, 171, 172-76, 177, 179, 180n.9, 314; structure of, 178; time in, 176-77; visibility vs. invisibility in, 178-79; voice-overs in, 314; voices in, xxii; voyeurism in, 170, 179; Wood on, 177-78. See also Women’s films

Lévi-Strauss, Claude, 26, 252

Lianna (film), 85-86

Libido, 32

Life and Times of Rosie the Riveter, The (film): discourse in, 241; friendship in, 247; lesbianism in, 247; Lola in, 243, 244, 247; Lyn in, 244, 247; Margaret in, 247; mass culture in, 245; montages in, 242, 245; old persons in, 217, 244-45; politics in, 244; talking heads in, 217, 240, 241, 242; Wanita in, 245, 247; working women in, 217, 240, 243-44, 246-47. See also Documentaries

Linguistics, 78

Lives of Performers (film), 218, 259-61. See also Rainer, Yvonne, films of

Locke, Sondra, 340

Logography, defined, 43

Lola Montes (film), 312-13. See also Women’s films

Look, the: and classic narrative films, 200, 309, 365, 421; and counter-cinema, 39; and glasses, 50; Gaines on, 6-7; and horror films, 50; C. Johnston on, 140; Koch on, 295; and lesbianism, 7; and masquerade, 49; Mulvey on, xx, 140, 252, 277-78, 290, 386; and pleasure, 33; and pornography, 213n.45, 421; and sexual differences, 33, 34, 38, 418; and showgirls, 33; and spectatorship, 34; types of, 39, 421; L. Williams on, 50. See also Scopophilia

Loos, Anita, 101, 102

Lorde, Audre, 292

Love, 164, 168, 169

Love, Myra, 285, 393n.2

Lovell, Terry: on intellectual pleasures, 192, 194; and signifying practice, 209; on the subject, 79

Lupino, Ida, 19, 342

Madame de (film), 359, 364n.6

Madame X (film), 158n.2. See also Melodramas

Mädchen in Uniform (film), 218, 272

Madeline (film), 10

Madonna, 332, 374, 375

Mahogany (film): Brian in, 204, 205, 207-8; castration threat in, 204; class in, 205-6; fetishism in, 204; Gaines on, 99; Gavina in, 209; the look in, 99, 204-5, 207, 208; masochism in, 204; photographic acts in, 99, 198, 204; pleasure in, 204, 205; racism in, 204, 205-6, 207; sadism in, 99, 198, 204; Sean in, 204, 205, 207, 213n.37; theme song, 206; Tracy in, 203-4, 205, 206, 207-8, 213n.37; and voyeurism, 99, 198, 204

Main, Marjorie, 147

Mainstream films. See Classic narrative films

Make Way for Tomorrow (film), 355-56

Making Love (film), 189

Man I Love, The (film), 19. See also Walsh, Raoul, films of

Manpower (film), 19, 20. See also Walsh, Raoul, films of

Margaret Sanger (film), 15

Marginalism, defined, 255

Marginality, 332

Marnie (film): law in, 38; the look in, 36; Mark in, 38, 312; Marnie in, 38, 312; mother/daughter relationship in, 62; symbolic order in, 36-37, 38; voices in, 312. See also Hitchcock, Alfred, films of

Martineau, Barbara Halpern, xviii, 277

Marxist theory: and Althusser, 199-200; and class structure, 202; and Freud, 81; and patriarchy, 202; and psychoanalytic theory, 6, 79, 199, 210; and textual detachment, 198

Mary Kate’s War (film), 10

Masculinization, 48, 332. See also Patriarchy

Masochism: and Bellour, 332; characteristics of, xxi, 68; and classic narrative films, 59, 367; Deleuze on, 73n.33; Rein on, 73n.33; and spectatorship, xxi, 67; Studlar on, xxi, 68; and women’s films, 171-72. See also Sadism

“Masochism and Subjectivity” (Silverman), 67, 68-69

“Masochism and the Perverse Pleasure of the Cinema” (Studlar), 66-67

Masquerade, 5, 48-50, 54

Mass market romances, 86

Mayne, Judith, 62-63, 332-33

Mazursky, Paul, 284

Medusan films, 282-83

Mekas, Jonas, 274

Melandri, Lea, 291

Mellencamp, Patricia, 78

Melodramas: background of, 158n.2; Brooks on, 159n.7; characteristics of, 356; Cook on, xxii; and femininity, 179; and motherhood, 138, 158n.2; Mulvey on, 157; Now-ell-Smith on, 179; purposes of, 86, 139, 159n.7; and spectatorship, 158; Vicinus on, 139, 159n.7. See also Women’s films

Melodramatic Imagination, The (Brooks), 139

Metaphors, 80-81

Metz, Christian: on fetishism, 162n.55; on spectatorship, 45, 64, 68, 311; on voyeurism, 45, 311. See also specific works

Michel, Sonya, 217

Michelson, Annette, 274

Mildred Pierce (film), 128, 133, 139-40

Millett, Kate, 409, 414

Mirror stage: and classic narrative films, 31—32; and Lacan, 23, 31, 68; and motherhood and mother/daughter relationship, 138

Misconception (film), 220, 315-16

Mitchell, Juliet, 79, 161n.29. See also specific works

Mitchum, Robert, 20

Modleski, Tania: and Hitchcock films, 5-6; on Letter from an Unknown Woman, 171, 172-73, 174, 176; on soap operas, 86, 97, 152-53; on woman’s films, 168, 169

Mommie Dearest (film), 135

Monroe, Marilyn, 104-5, 112, 200

Montages, 239

Montrelay, Michèle, 46, 49

Moore, Colleen, 108

Moore, Kenny, 190

Moore, Mary Tyler, 9-10

Morgan, Robin, 413, 414, 415

Morocco (film), 36, 77, 113. See also Sternberg, Josef von, films of

Morrison, Toni, 298

Motherhood and mother/daughter relationship: Beauvoir on, 138; and bisexuality, 62, 63; characteristics of, 96, 127; Chodo-row on, 96-97, 154; in classic narrative films, 127-28; Dinnerstein on, 127; Freud on, 143, 156, 176; Friday on, 175; E. Ann Kaplan on, 96; Kristeva on, 63-64, 146-47, 155; and melodramas, 138, 158n.2; and mirror stage, 138; Mulvey on, 141; and patriarchy, 96, 127; and psychoanalytic theory, 126-27; A. Rich on, 127, 158; Studlar on, 68; and women’s films, 138

Motown Industries, 206

Mourning and Melancholia (Freud), 325, 327n.22

Mulvey, Laura: on castration, xix-xx, 77; and counter-cinema, 141-42, 155, 252; and de-construction, 252; on Dietrich, 63; on exhibitionism, xx; on femininity, 59; on fetishism, xx, xxi; on Freud, xix; on Hitchcock, 4; on Jones, 77; on Lacan, xix; on the look, xx, 140, 252, 277-78, 290, 386; on masculinization, 332; on melodramas, 157; on motherhood, 141; on patriarchy, 3, 4, 68; on pleasure, 142, 252, 259; and psychoanalytic theory, 3, 278-79; on sadism, xx, xxi; on scopophilia, 252; on spectator-ship, xx, xxi, 44-45, 48, 56n.10, 66, 277-78, 290; on transvestism, 154; on Vertigo, 70; and voices, 315; on voyeurism, xx, 252, 277-78. See also specific works

Musicals, 33

Narcissism, 31-32, 45, 169

Near the Big Chakra (film), 275-76

New French feminism. See French feminist film criticism

New German Cinema, 382-83, 389

News from Home (film), 220, 319-20. See also Akerman, Chantal

Newton, Helmut, 204

“New Women’s Films,” 188. See also Women’s films

New York Conference of Feminists in the Media, 278

Nightcleaners (film), 83

North Sea, The (Heine), 41-42

Not a Love Story (film): and Barry, 414; Blue Sky in, 408; as conversion film, 334, 407; and Griffin, 409, 414; Linda in, 334, 406-7, 409, 412; and Millett, 409, 414; and Morgan, 413, 414, 415; pornography in, 406, 407-8, 409, 411, 413, 421; B. Ruby Rich on, 334; sex in, 335; spectatorship in, 408; Suze in, 406, 407, 409; voyeurism in, 334, 408-9

Notes on Women’s Cinema (C. Johnston, ed.), xvii, 252

Notorious (film), 59, 62. See also Hitchcock, Alfred, films of

Nowell-Smith, Geoffrey, 179

Now Voyager (film), 44, 50

Objectification, 112, 114

Oedipus complex, 372

Officer and a Gentleman, An (film), 340, 341

Of Woman Born (A. Rich), 138

“On Being White” (M. Frye), 199

One Way or Another (film), 218, 255-57

Only Angels Have Wings (film), 34-35

On the Riviera (film), 108

Operacion, La (film), 91n.41

Oppositional films, defined, 333, 396

Oppression. See Patriarchy

Oral history: and Lesage, 249n.13; reactions to, 241-42, 244; and talking heads, 240

Over-identification: defined, 47; Doane on, 97, 154-55; Haskell on, 47, 65; with soap operas, 47, 65; and women’s films, 47, 65. See also Identity and identification

Owens, Craig, 301

Ozu, Yasujiro, 273

Packaging, defined, 349

Palimony suits, 187

Paranoia, defined, 69

Parfit, Michael, 191

Passivity, 219

Patriarchy: and Cahiers du cinéma, 26; characteristics of, 29, 67, 202; and classic narrative films, 30, 38, 65, 127, 200, 367; and documentaries, 234; and language, 259; and Marxist theory, 202; and motherhood, 96, 127; Mulvey on, 3, 4, 68; and psychoanalytic theory, 29, 126-27; and racism, 202-3, 212n.21; and sexual differences, 99; and voice-overs, 312. See also Mas-culinization; Phallocentrism

Peeping Tom (film), 51

Penn, Sean, 350

Perkins, Tony, 204

Perkins, V. F., 167, 177

Persistent and Finagling (film), 10

Personal Best (film): Chris in, 189, 190, 193, 195n.1; closure in, 193; Denny in, 190; and discursive salients in, 184, 185-86, 187, 188-89, 190; discursive self-production in, 184, 185, 188-89, 190, 194; and Ellsworth, 85, 98-99; lesbianism in, 98, 186, 187, 188, 189-90, 191, 193-94, 200; the look in, 85; pleasure in, 98-99, 192, 193-94, 195; plot of, 195n.1; pressbook pre-reading of, 188-90; racism in, 185-86; reactions to, 98, 185-86, 187, 190-95; “reading against the grain” analysis of, xx, 193; realism in, 187, 188-89; Scott in, 190; spectatorship in, xxii, 98, 192; sports in, 98, 186, 188-90, 192; Straayer on, 85; Tory in, 189, 190, 193, 195n.1; voyeurism in, 185; women’s bodies in, 98, 185, 186

Phallocentrism, 28, 277, 313. See also Patriarchy

Pleasure: and classic narrative films, 30-32, 38, 123, 200, 353, 365, 367; and counter-cinema, 155; defined, 124n.l; and feminine writing, 259, 264; and fetishism, 156; C. Johnston on, 259; and the look, 33; Lovell on, 192, 194; Mulvey on, 142, 252, 259

Pleasure and Danger (Vance, ed.), 75, 336n.11

Poitier, Sidney, 21

Police thrillers, 311-12

Political Unconscious, The (Jameson), 61

“Politics of Prostitution, The” (Walkowitz), 415

Popcorn Venus (Rosen), xvi

Porky’s (film), 347, 349-50

Pornography: characteristics of, 410-11, 413; and class structure, 412-13; and Gordon, 335; and lesbianism, 110-11; and the look, 213n.45, 421; and mass market romances, 86; B. Ruby Rich on, 334; Snitow on, 86; Stern on, 186; Webster on, 76; Willis on, 87, 88n.5

Positive identification, 119. See also Identity and identification; Positive images

Positive images: sources of, 124n.2; characteristics of, 9, 11, 14. See also Image studies; Positive identification

Positive Images (Artel and Wengraf): purposes of, 9, 13; reactions to, 14-18; sexism in, 17; spectatorship in, 17

Poverty, feminization of, 298-99

Pressbooks, defined, 188

Prison dramas, 311-12

Projectile films, 283-84. See also Women’s films

Proximity. See Distance vs. proximity

Psycho (film): bisexuality in, 65; Marion in, 70; mother/son relationship in, 62, 70, 71-72; Norman in, 62, 65; over-identification in, 71; voyeurism in, 51. See also Hitchcock, Alfred, films of

Psychoanalysis and Feminism (Mitchell), 20

Psychoanalytic theory: and British feminist film criticism, 79; castration threat, 35; Cook on, 2; Gaines on, 6; and horror films, 84; C. Johnston on, 2; E. Ann Kaplan on, 81; and Marxist theory, 6, 79, 199, 210; and metaphors, 80-81; and motherhood, 126-27; Mulvey on, 3, 278-79; and patriarchy, 29, 126-27; and politics, 28; and Screen, 28, 77; and sexual differences, 28

Psychopathology of Everyday Life, The (Freud), 173

Pursued (film), 20, 22. See also Walsh, Raoul, films of

Quest for Christa T., The (Wolf), 380, 382

Question of Silence, A (film): Andrea in, 396, 397, 398-99, 401; Annie in, 396, 397, 398-99, 401; Christine in, 396-97, 398-99, 400, 401; distance vs. proximity in, 398; and Gentile, 333-34; isolation in, 399.400; Janine in, 397, 399-400; S. Johnston on, 397; murder in, 400-402; as oppositional film, 333-34, 396; politics in, 395-96; reactions to, 395-96; shopkeeper in, 396-97, 400-402; spectatorship in, 397-98, 399, 400, 401, 403; structure of, 398-99, 402; voices in, 400, 402-3

Race and racism: and de Lauretis, xxiii; and Gaines, xxiii; and Joseph, 212n.21; and patriarchy, 202-3, 212n.21; and A. Rich, 212n.20

Rainer, Yvonne, films of: autobiographical elements in, 261, 275; characteristics of, 260; patriarchy in, 219; B. Ruby Rich on, 218-19, 266; victims in, 219. See also specific films

Rank and File (Staughton and Lynd), 243, 244

Rape, 203, 210

Rape (film), 235

Rape: A Preventative Inquiry (film), 9

“Reader and the Writer, The” (Wolf), 380-81

Reading against the grain, xx, 95

Realism: defined, 250; and documentaries, xviii, 223, 239; and Gledhill, xix, 142; and illusionism, 250; and Jacobowitz, xix, 331; and C. Johnston, xvii; and Lesage, xviii; and spectatorship, 353-54; and Spring, xix, 331. See also Classic narrative films; Corrective realism films

Rear Window (film): the erotic in, 37; Jeff in, 37; Lisa in, 37; the look in, 36; over-iden-tification in, 65; patriarchy in, 60; and voyeurism, 51. See also Hitchcock, Alfred, films of

Rebecca (du Maurier), 59

Rebecca (film), 59, 64. See also Hitchcock, Alfred, films of

Reconstructive films, 281-82

Redupers (film): Berlin wall in, 294-95, 302, 333, 383-85, 386, 387; as correspondence film, 390; diaries in, 389-90; documentary in, 382; Edda in, 332-33, 383, 385, 387-88, 390-91; letter-writing in, 388, 389; the look in, 332, 333, 385, 386-87; Mayne on, 332-33; private vs. public in, 384; B. Ruby Rich on, 390; spectatorship in, 383, 390; voice-overs in, 314; voices in, 281, 332-33, 383, 384, 387-89, 390, 393

Regard Oblique, Un (Doisneau), 52; dirty joke in, 53; fetishism in, 53; the look in, 5, 51-52, 53; masochism in, 55; realism in, 53-54; spectatorship in, 52-53, 54-55; and voyeurism, 53

Reinhold, Judge, 350

Reproduction of Mothering, The (Chodo-row), 143-44

Revenge of the Nerds (film), 352n.3

Re-vision (Doane et al.), 296-97

Revolt of Mamie Stover, The (film): Bertha in, 24; exchange of images in, 21, 25; Jimmy in, 21, 23-24, 25; Lacanian reading of, 23; the look in, 3, 23, 24, 25; Mamie in, 3, 19, 20, 21-22, 23-25; mirror stage in, 23; money in, 3, 24, 25; patriarchy in, 21-22, 23, 24-25; phallocentrism in, 3; plot of, 19; sexuality in, 22, 25; the symbolic in, 23-24. See also Walsh, Raoul, films of

Revolutionary cinema, 81

Rich, Adrienne: “diving into the wreck,” 233; and double life, 115; and heterosexuality, 304; and motherhood and mother/daughter relationship, 127, 158; on race and racism, 212n.20. See also specific works

Rich, B. Ruby: on bisexuality, 62-63; on identification, 290; and lesbianism, 85; on Not a Love Story, 334; on pornography, 334; on Rainer films, 218-19, 266; on Redupers, 390; on spectatorship, xx, 64, 155

Richardson, Tony, 206

Riddles of the Sphinx (film): as influential film, 83; the look in, 82; patriarchy in, 279; pleasure in, 259; reactions to, 82; voices in, 315

River of No Return, The (film), 33

Riviere, Joan, 48-49. See also specific works

Rodowick, David, 366. See also specific works

Romances, mass market, 86

Romancing the Reader (Radway), xxii

Romanus, Robert, 350

Rose, Jacqueline, 79

“Rose for Emily, A” (Faulkner), 392

Ross, Diana, in Mahogany, 99, 198, 203, 206

Rothman, Stephanie, 342

Rowbotham, Sheila, 202. See also specific works

Rubin, Gayle, 201, 211n.16

Russ, Joanna, 77-78

Russell, Jane: in Gentlemen Prefer Blondes, 104-5, 200; and objectification, 112; in The Revolt of Mamie Stover, 19

Sadism: and classic narrative films, 59; Mulvey on, xx, xxi; and spectatorship, 67; and voyeurism, 35. See also Masochism

Safouan, Moustafa, 49

Sander, Helke, 294. See also specific films

Sarris, Andrew, 26

Saussure, Ferdinand de, 43

“Scholar and the Feminist IX, The” (conference), 187

Scopophilia: and castration threat, 4; causes of, 32; characteristics of, 30-31, 35, 38; and classic narrative films, 30-32, 38; and Freud, 30-31, 53; Mulvey on, 252; and spectatorship, 33-34. See also Look, the

Screen (journal), 28, 77, 210n.3

Second Awakening of Christa Klages, The (film), 283

Second Sex, The (Beauvoir), 164-66, 167, 168, 170, 171, 172

Self Health (film): mise-en-scène in, 226; sexuality in, 227-28, 229, 233; subversive nature of, 235; utopianism of, 228-29; women’s bodies in, 216, 224-25, 226-28, 233. See also Documentaries

Self-reflexive films, 239-40

Selwyn, Edgar, 101

Semiotic layering, defined, 109

Semiotics, xvii, 2

Seneca, Gail, 85, 94-95

Series, 240, 249n.8

Sexism, 2, 18, 213n.33

Sexual differences: and Cixous, 64; and de Lauretis, xxiii; and Doane, 368; and Freud, 46-47; and Gaines, xxiii; and Hansen, xxi; and Irigaray, 179; and Kolodny, 83-84; and Kristeva, 146, 147; and Lacan, 141; and the look, 33, 34, 38, 418; and patriarchy, 99; and psychoanalytic theory, 28; and spectatorship, 45; and synchronization, 311; and voice-overs, 312, 314; and voices, 309-10

Sexuality, 209, 244. See also Unrealized sexuality

“Sexuality at a Loss” (Bergstrom), 66-67

Sexual Stratagems (Erens), xv

Shadow of a Doubt (film), 69-70. See also Hitchcock, Alfred, films of

Shock, attraction by, 204

Showalter, Elaine, 91n.42

Showgirls, 33, 77

Sigmund Freud’s Dora (film), 220, 318-19

Signifying practice, 90n.33, 209

Silent films, 43

Silk Stockings (film), 108

Silverman, Kaja, 294. See also specific works

Simson, Rennie, 202

Sitney, P. Adams, 276

Slavery, 203

Smith, Barbara, 201

Snake Pit, The (film), 312

Snitow, Ann Barr, 86

Soap operas: Modleski on, 86, 97, 152-53; and over-identification, 47, 65; purposes of, 86; and spectatorship, 153

Sociological feminist film criticism. See American feminist film criticism

“Some Psychological Consequences” (Freud), 47

Sound, 56n.10. See also Language; Voice-overs; Voices

Spectatorship: Bellour on, 367; and bisexuality, 6, 63; Burch on, 45; and castration threat, 47; characteristics of, 5; and classic narrative films, 251, 353, 365, 367; de Lauretis on, 59, 63, 170-71, 176; Doane on, 5, 64, 84, 154-55, 367-68; and fetishism, 77; Koch on, 385; and lesbianism, 84, 85; and the look, 34; mapping of, 45; and masculinization, 48; and masochism, xxi, 67; and masquerade, 49-50; and melodramas, 158; Metz on, 45, 64, 68, 311; Mulvey on, xx, xxi, 44-45, 48, 56n.l0, 66, 277-78, 290; and narcissism, 45; and realism, 353-54; B. Ruby Rich on, xx, 64, 155; and sadism, 67; and scopophilia, 33-34; and self-reflexive films, 239-40; and sexual differences, 45; and silent films, 43; and soap operas, 153; and sound, 56n.l0; Stacey on, 332; Studlar on, xxi, 67-68; and transvestism, 48; and voyeurism, 45; L. Williams on, 64, 97. See also Distance vs. proximity

Speculum de 1’autre femme (Irigaray), 144-45

Spillers, Hortense J., 209

Spring, Lori, xix, 331

Sragow, Michael, 191

Stacey, Jackie, 332

Stanwyck, Barbara, 149

Star images, xxii-xxiii

Stars (Dyer), xxii

Stella Dallas (film): closure in, 157; Ed in, 131-32, 133, 148, 151; fetishism in, 149, 150, 151, 152, 156; friendship in, 96; Haskell on, 162n.47; heterosexuality in, 64; identification in, 130; E. Ann Kaplan on, 96, 151, 152, 153, 162n.42; Laurel in, 129, 131-34, 148-53, 155, 156; the look in, 129, 140, 155; Morrison family in, 96, 97, 129, 132-34, 149, 150, 152-54, 156; motherhood and mother/daughter relationship in, 64, 96, 97, 128-35, 138, 140, 147-49, 150-56; patriarchy in, 132, 133, 134; spectatorship in, 64, 96, 97, 128-29, 130, 131, 132, 134, 135, 140, 152-57; Stella in, 96, 97, 128, 129-31, 132-35, 147-49, 150-56, 158n.2; Stephen in, 129-30, 131, 132, 133, 134, 147, 148-49, 151, 153, 154; versions of, 137, 140; voyeurism in, 130, 156; L. Williams on, 64, 96-97. See also Melodramas; Women’s films

Stella Dallas (Higgins), 128

Stern, Lesley, 186

Sternberg, Josef von, films of, 35-36, 67. See also specific films

Storaska, Frederic, 10

Straayer, Chris, 85

“Straight Mind, The” (Wittig), 415-16

Streisand, Barbra, 343

Structuralist films, defined, 276

Structural-materialist films. See Avant-garde films

Studlar, Gaylyn, xxi, 67-68. See also specific works

Subject, 79, 90n.30

“Subject supposed to know,” the, 46

Suture, defined, 326n.8

Swept Away (Cassell), 166-67

Symbolic, 146

Synchronization, 310, 311

Take Back the Night (Lederer, ed.), 336n.11, 412

“Talking heads”: and consciousness-raising groups, 240-41; and documentaries, xviii, 216, 233-34; Lesage on, 240, 241; Marti-neau on, xviii; and oral history, 240

Taubin, Amy, 274

Taylor, Anna Marie, 62-63

Taylor, Ruth, 102

Teenie-kill pics, 348-49

Tell Me a Riddle (film): class structure in, 331, 354-55, 357, 359; closure in, 363; David in, 355-59, 362; entrapment and exclusion in, 355, 356, 357-59, 360-61, 363; ethnicity in, 331, 354-55; Eva in, 331-32, 355, 356, 357-59, 360-63; feminism in, 345; Jeannie in, 360-61, 363, 364n.9; marriage in, 345; Mrs. Mays in, 331, 359-61; old persons in, 345, 355, 356, 359, 362; politics in, 345; sexual differences in, 331, 354-55, 357, 359

Tell Me a Riddle (Olsen), 355, 356, 357, 358

Terms of Endearment (film), 340, 341

Textual detachment, 198

Theme songs, 213n.38

Theoretical feminist film criticism. See British feminist film criticism

They Drive by Night (film), 19. See also Walsh, Raoul, films of

Three Essays on Sexuality (Freud), 30

Thriller (film): characteristics of, 218; discourse in, 259-60; Mimi in, 260, 382; objectification in, 113; pleasure in, 113; as reconstructive film, 281-82; voices in, 260

Thrillers, police, 311-12

Tierney, Gene, 51

To Have and Have Not (film), 33, 34-35

“Towards a Politics of Sexuality” (conference), 336n.11

Towne, Robert, 189

Tracy, Spencer, 114

Transvestism, 48, 154

Travolta, John, 340

Turim, Maureen, xxiii, 77, 94

Turning Point, The (film), 113, 120

2 or 3 Things I Know About Her (film), 385-87. See also Godard, Jean-Luc

Union Maids (film): Kate in, 244; mass culture in, 245; montages in, 242; old persons in, 244-45; patriarchy in, 246; politics in, 244; reactions to, 83; talking heads in, 217, 240, 241, 242; working women in, 217, 240, 243. See also Documentaries

Unmarried Woman, An (film), 284, 330-31, 337-39

Unrealized sexuality, 214n.48. See also Sexuality

Urban Cowboy (film), 339-40

Valenty, Lili, 359

Validative films, 280. See also Cinéma vérité

Varda, Agnes, 277

Variety (film): Christine in, 335, 419, 420-22; the look in, 335, 421, 422; patriarchy in, 419, 421; pleasure in, 335, 418, 420; pornography in, 419-20, 421; voices in, 420-21; voyeurism in, 335, 419, 420, 421

Vertigo (film): the erotic in, 37, 38; law in, 36; the look in, 36, 38; Madeleine in, 37-38, 61, 62; mother/daughter relationship in, 62; Mulvey on, 70; patriarchy in, 38, 60; sadism in, 37; Scottie in, 37-38, 61; sexual differences in, 38; spectatorship in, 59; voyeurism in, 37. See also Hitchcock, Alfred, films of

Vicinus, Martha, 139, 159n.7

“Visual Pleasure and Narrative Cinema” (Mulvey): castration threat, xx, 4; distance vs. proximity, 366; fetishism, xx, 365; Hitchcock films, 4, 58-59; identification, 366; importance of, 3; the look, xx, 4; patriarchy, xix-xx, 3, 4, 199; pleasure, 365-66; psychoanalytic theory, 76; sadism, xx; scopophilia, 3-4, 365-66; sexual differences, 4; spectatorship, 84, 365-66; Sternberg films, 4; text of, 28-40; voyeurism, xx, 365

Voice-overs, 311-12, 314. See also Language; Sound; Voices

Voices: Bettetini on, 310; Bonitzer on, 310-11; and classic narrative films, 310, 312, 313; Doane on, 311; and documentaries, 234, 235, 311; Heath on, 310, 326n.4; Mulvey on, 315; and sexual differences, 309-10; and synchronization, 310, 311. See also Language; Sound; Voice-overs

Voyeurism: and castration threat, 4; and classic narrative films, 31, 59; defined, 420; Gordon on, 335; E. Ann Kaplan on, 80; Koch on, 63; Metz on, 45, 311; Mulvey on, xx, 252, 277-78; and sadism, 35; and silent films, 43; and spectatorship, 45

Waldman, Diane, xvii, 2

Walker, June, 101

Walker, Michael, 164, 177

Walsh, Raoul, films of: castration evoked in, 20; as classic narrative films, 25-26; Cook on, xvii, 3; C. Johnston on, 3; money in, 21; patriarchy in, 26; Sarris on, 26; virility in, 26; women in, 3, 19, 20, 21, 26-27. See also specific films

Watching Dallas (Ang), xxii

Ways of Seeing (Berger), xx, 225-26

Webster, Paula, 76

Wengraf, Susan, xvii, 2

Whose Choice? (film), 257-58, 265

Wikarska, Carol, 275

Willemen, Paul, 20, 22, 421

Williams, Billy Dee, 204

Williams, Linda: on essentialism, 78; on the look, 50; on spectatorship, 64, 97; on Stella Dallas, 64, 96-97

Willis, Ellen, 87, 88n.5

Willmar Eight (film), 249n.l4

Wilson, John C., 102

Winger, Debra, 340-41

With Banners and Babies (film). see Babies and Banners (film)

Wittig, Monique, 200-201, 304. See also specific works

Wolf, Christa, 389-90. See also specific works

Womanifesto, 278

Womanizers, 174

“Womanliness as a Masquerade” (Rivere), 5

Woman’s Consciousness (Rowbotham), 279

Woman’s Face, A (film), 312

Women (film), 283

Women Against Pornography, 76, 336n.11, 411

Women Against Pornography in the Media, 336n.11

Women Against Violence Against Women (WAVAW), 413

Women and Children in China (film), 16

“Women and Film” (Citron et al.), xix

Women and Film (journal), xvii

Women and Film (Kaplan), 63

Women in Management (film), 16

“Women’s Cinema as Counter-Cinema” (C. Johnston), 76, 199

Women’s culture, 83, 91n.42

Women’s equality, 339

Women’s films: characteristics of, xxii, 44, 137, 138; Cook on, xxii; Doane on, 84, 149, 171-72; Haskell on, 283; and love, 164; and masochism, 171-72; Modleski on, 168, 169; and motherhood, 138; and over-identification, 47, 65; Perkins on, 177; M. Walker on, 164, 177. See also Melodramas; New Women’s Films; Projectile films; specific films

Women’s Films in Print (Dawson), 271

Women’s issues, defined, xxii

Women’s liberation, 339

Women’s Room, The (French), 137-38, 152, 157-58

Women Who Love Too Much (Norwood), 166, 172

Women Workers (film), 16

Wood, Robin, 59-60, 177-78

World According to Garp, The (film), 135

World, the Text, and the Critic, The (Said), 71

Wright, Theresa, 20

Yentl (film), 343-44

Young Mr. Lincoln (film), 22-23

Ziegfeld, Florenz, Jr., 101

Zweig, Stefan, 167