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