Special Journal Issues

“Alternative Feminist Cinema.” CineAction!, no. 5 (Spring, 1986).

“Body/Masquerade.” Discourse 11, no. 1 (Fall/Winter 1988-89).

“Cinema Histories/Cinema Practices II.” Wide Angle 7, nos. 1-2 (1985).

“Deconstructing ‘Difference’.” Screen 28, no. 1 (Winter 1987).

“Female Representation and Consumer Culture.” Quarterly Review of Film and Video 11, no. 4 (1989). Includes bibliography.

“Feminism.” Millenium Film Journal, no. 12 (Fall/Winter 1982-83).

“Feminism and Film.” Millenium Film Journal, no. 6 (1980).

“Feminism and Film.” Wide Angle 6, no. 3 (1984).

“Feminism and Representation.” Screen 21, no. 2 (Summer 1980).

“Feminist Film Criticism.” Film Reader, no. 5 (1982).

“Feminist and Ideological Criticism.” Quarterly Review of Film Studies 3, no. 4 (Fall 1978) and 4, no. 2 (Spring 1979).

“Feminist Retrospective.” Cinema Canada, no. 106 (April 1984).

“German Film Women.” Jump Cut, no. 29 (February 1984) and no. 30 (March 1985).

“Hollywood Reconsidered.” Jump Cut, no. 32 (April 1986).

“Indian and European Melodrama.” Screen 30, no. 3 (Summer 1989).

“Interviews with Women Filmmakers.” Cineaste 15, no. 1 (1986) and 15, no. 4 (1987).

“Interviews with Women Filmmakers.” Millenium Film Journal, nos. 7-9 (Fall/ Winter 1980-81).

“Lesbians and Film.” Jump Cut, no. 24/25 (March 1981).

“Melodrama and Transgression.” Screen 29, no. 3 (Summer 1988).

“New German Women’s Cinema.” Jump Cut, no. 27 (July 1982).

“Radical Feminist Film.” Cine-Tracts 3, no. 3 (Fall 1980).

“Sex.” CineAction!, no. 10 (Fall 1987).

“Sex and Spectatorship.” Screen 23, nos. 3/4 (September/October 1982).

“Sexual Difference.” Wide Angle 5, no. 1 (1982).

“Sexual Difference.” Journal of Film and Video 37, no. 2 (Spring 1985).

“Sexual Representation.” Jump Cut, no. 30 (March 1985) and no. 32 (April 1986).

“Spectatorship, Narrativity and Feminist Revision.” Journal of Film and Video 39, no. 4 (Fall 1987).

“Women and Representation.” Jump Cut, no. 29 (February 1984).

“Women in Contemporary Hollywood.” CineAction!, no. 2 (Fall 1982).

“Women’s Cinema.” Screen 28, no. 4 (Autumn 1987).

All issues of Camera Obscura (1977-present) and all issues of Jump Cut (1974-present). Camera Obscura is devoted to feminism and film theory, while Jump Cut regularly includes articles related to women and film. For a complete bibliography of feminist film criticism in Jump Cut from 1974-1980, see Jump Cut no. 24-25 (March 1981).

Books

Bell-Metereau, Rebecca. Hollywood Androgyny. New York: Columbia University Press, 1986.

Blache, Roberta, and Simone Blache, trans. Memoirs of Alice Guy Blache. Metuchen, NJ: Scarecrow Press, 1986.

Blonski, Annette, Barbara Creed, and Freda Freilberg. Don’t Shoot Darling!: Women’s Independent Filmmaking in Australia. Richmond, Australia: Greenhouse, 1987.

Bruno, Guiliana, and Maria Nadotti, eds. Off Screen: Women and Film in Italy. New York: Routledge, 1988.

Brunsdon, Charlotte, ed. Films for Women. London: British Film Institute, 1986.

Burchill, Julie. Girls on Film. New York: Pantheon, 1986.

Clark, VeVe A., Millicent Modson, and Catrina Neiman. The Legend of Maya Deren. Vol. 1, pts. 1 and 2. New York: Anthology Film Archives, 1984 and 1988.

De Lauretis, Teresa. Alice Doesn’t: Feminism, Semiotics, Cinema. Bloomington: Indiana University Press, 1984.

———. Technologies of Gender: Essays on Theory, Film, and Fiction. Bloomington: Indiana University Press, 1987.

Doane, Mary Ann. The Desire to Desire: The Woman’s Film of the 1940s. Bloomington: Indiana University Press, 1987.

Doane, Mary Ann, Patricia Mellencamp, and Linda Williams. Re-Vision: Essays in Feminist Film Criticism. Los Angeles: American Film Institute, 1984.

Dyer, Richard. Heavenly Bodies: Film Stars and Society. New York: St. Martin’s Press, 1986.

———. Stars. London: British Film Institute, 1979.

Ecker, Gisela, ed. Feminist Aesthetics. trans. Harriet Anderson. Boston: Beacon Press, 1986.

Erens, Patricia. Sexual Stratagems: The World of Women in Film. New York: Horizon Press, 1979.

Fischer, Lucy. Shot/Countershot: Film Tradition and Women’s Cinema. Princeton: Princeton University Press, 1989.

Flitterman-Lewis, Sandy. To Desire Differently: Feminism and the French Cinema. Urbana: University of Illinois Press, 1990.

French, Brandon. On the Verge of Revolt: Women in American Films of the Fifties. New York: Ungar, 1978.

Gaines, Jane M., and Charlotte Herzog. Fabrications: Costume and the Female Body. New York: Routledge, 1990.

Gamman, Lorraine, and Margaret Marshment, eds. The Female Gaze. Seattle, WA: Real Comet Press, 1989.

Gentile, Mary C. Film Feminisms: Theory and Practice. Westport, CT: Greenwood Press, 1985.

Gledhill, Christine. Home Is Where the Heart Is: Studies in Melodrama and the Woman’s Film. London: British Film Institute, 1987.

Haskell, Molly. From Reverence to Rape: The Treatment of Women in Movies. 2d ed. Chicago: University of Chicago Press, 1987.

Heck-Rabi, Louise. Women Filmmakers: A Critical Reception. Metuchen, NJ: Scarecrow Press, 1984.

Kaplan, E. Ann. Motherhood and Reproduction: The Maternal Melodrama in Literature and Film 1930-Present. New York: Routledge, 1991.

———. Psychoanalysis and Cinema. New York: Routledge, 1989.

———. Women and Film: Both Sides of the Camera. New York: Methuen, 1983.

———. ed. Women in Film Noir. London: British Film Institute, 1978.

Kuhn, Annette. The Power of the Image: Essays on Representation and Sexuality. London: Routledge and Kegan Paul, 1985.

———. Women’s Pictures: Feminism and Cinema. London: Routledge and Kegan Paul, 1982.

Lederer, Laura, ed. Take Back the Night: Women on Pornography. New York: William Morrow, 1980.

Lehman, Peter, ed. Close Viewings: An Anthology of New Film Criticism. Tallahassee: Florida State University Press, 1990.

MacDonald, Scott. A Critical Cinema: Interviews with Independent Filmmakers. Berkeley: University of California Press, 1988.

Maio, Kathi. Feminist in the Dark: Reviewing the Movies. Freedom, CA: Crossing Press, 1988.

Mayne, Judith. Kino and the Woman Question: Feminism and Soviet Silent Film. Columbus: Ohio State University Press, 1989.

———. The Woman at the Keyhole: Feminism and Women’s Cinema. Bloomington: Indiana University Press, 1990.

McCreadie, Marsha. Women on Film: The Critical Eye. New York: Praeger, 1983.

Mellencamp, Patricia. Avant-Garde Film, Video, and Feminism. Bloomington: Indiana University Press, 1990.

Miller, Lynn Fieldman. The Hand That Holds the Camera: Interviews with Women Film and Video Directors. New York: Garland, 1988.

Modleski, Tania. Loving with a Vengeance: Mass Produced Fantasies for Women. Hamden, CT: Shoe String Press, 1982. Reprinted by Methuen, 1984.

———. The Women Who Knew Too Much: Hitchcock and Feminist Theory. New York: Methuen, 1988.

Mulvey, Laura. Visual and Other Pleasures. Bloomington: Indiana University Press, 1989.

Nichols, Bill, ed. Movies and Methods. Vol. 2. Berkeley: University of California Press, 1985.

Oshana, Maryann. Women of Color: A Filmography of Minority and Third World Women. New York: Garland, 1984.

Penley, Constance. Feminism and Film Theory. New York: Routledge, 1988.

Petro, Patrice. Joyless Streets: Women and Melodramatic Representation in Weimar Germany. Princeton: Princeton University Press, 1989.

Pribram, E. Deidre, ed. Female Spectators: Looking at Film and Television. London: Verso, 1988.

Quart, Barbara Koenig. Women Directors: The Emergence of a New Cinema. New York: Praeger, 1988.

Rabinowitz, Lauren. Sex, Power and Politics in New York Avant-Garde Cinema. Urbana: University of Illinois Press (forthcoming).

Rainer, Yvonne. Profile 4, no. 5. Chicago: Video Data Bank, 1984.

Renov, Michael. Hollywood’s Wartime Woman: Representation and Ideology. Ann Arbor, MI: UMI, 1988.

Rich, B. Ruby. Yvonne Rainer. Minneapolis: The Walker Art Center, 1981.

Rodowick, David. The Difficulty of Difference: Psychoanalysis, Sexual Difference and Film Theory. New York: Routledge, 1990.

Rosenburg, Jan. Women’s Reflections: The Feminist Film Movement. Ann Arbor, MI: UMI, 1983.

Russo, Vito. The Celluloid Closet: Homosexuality in the Movies. New York: Harper and Row, 1981.

Shipman, Nell. The Silent Screen and My Talking Heart: An Autobiography. Boise, ID: Boise State University Press, 1987.

Silverman, Kaja. The Acoustic Mirror: The Female Voice in Pschoanalysis and Cinema. Bloomington: Indiana University Press, 1988.

———. The Subject of Semiotics. New York: Oxford University Press, 1983.

Snitow, Ann, Christine Stansell, and Sharon Thompson. Powers of Desire: The Politics of Sexuality. New York: Monthly Review Press, 1983.

Studlar, Gaylyn. In the Realm of Pleasure: Von Sternberg, Dietrich, and the Masochistic Aesthetic. Urbana: University of Illinois Press, 1988.

Todd, Janet, ed. Women and Film. New York: Holmes and Meier, 1988.

Vance, Carole S., ed. Pleasure and Danger: Exploring Female Sexuality. New York: Routledge and Kegan Paul, 1984.

Walsh, Andrea. Women’s Film and Female Experience 1940-1950. New York: Praeger, 1984.

Williams, Linda. Hardcore: Power, Pleasure and the “Frenzy of the Visible.” Berkeley: University of California Press, 1989.

Articles

Acker, R. “The Major Directions of German Feminist Cinema.” Literature/Film Quarterly 13, no. 4 (1985): 245-49.

Agostinis, V. “An Interview with Sally Potter.” Framework 14, no. 47 (Spring 1981).

Alexandrova, T. “Women Film-Directors.” Soviet Film, no. 250 (1978): 3-9.

Allen, J. T. “Tell Me a Riddle: Form Follows Function.” Journal of Film and Video 38, no. 1 (Winter 1986): 66-72 +.

———. “The Representation of Violence to Women: Hitchcock’s Frenzy.” Film Quarterly 38, no. 3 (1985): 30-38.

Alysen, B. “Australian Women Filmmakers: Part 4: Jeni Thornley and Martha Ansara.” Cinema Papers, no. 23 (September/October 1979): 497-99.

Aspler-Burnett, M. “Not a Love Story: Notes on the Film.” Cine-Tracts, no. 4 (1982): 1-3.

Bammer, A. “Through a Daughter’s Eyes: Helma Sanders—Brahms’ Germany Pale Mother.” New German Critique, no. 36 (Fall 1985): 91-109.

Banes, S. “Imagination and Play: The Films of Ericka Beckman.” Millenium Film Journal, no. 13 (Fall/Winter 1983-84): 98-112.

Banning, K. “Surfacing: Canadian Women’s Cinema.” Cinema Canada, no. 167 (October 1989): 12-16.

Barrowclough, S. “Not a Love Story.” Screen 23, no. 5 (November/December 1982): 26-36.

Beard, W. “Interview with Loyalties’ Director Anne Wheeler.” Cinema Canada, no. 134 (October 1986): 24-28.

Beauvais, Y. “Barbara Hammer.” Spiral, no. 6 (January 1986): 33-38.

Bergstrom, J. “Enunciation and Sexual Difference.” Camera Obscura, nos. 3-4 (Summer 1979): 33-65.

———. “Sexuality at a Loss: The Films of F. W. Murnau.” Poetics Today 6, nos. 1-2 (1985): 185-203.

Bovenschen, S. “Is There a Feminist Aesthetic?” Beth Weckmueller, trans. New German Critique, no. 10 (Winter 1977): 111-37.

Brown, B. “A Feminist Interest in Pornography: Some Modest Proposals.” m/f, nos. 5-6 (1981): 5-18.

Brown, L. “The Two Worlds of Marrakech.” Screen 19, no. 2 (1978): 85-118.

Burdick, D. M. “Danger of Death: The Hawksian Woman as Agent of Destruction.” Post Script 1, no. 1 (1981): 36-40.

Burstyn, V. “Cries and Whispers Reconsidered.” CineAction!, no. 3-4 (Winter 1986): 32-45.

Burton, J. “Seeing, Being Seen: Portrait of Teresa: or Contradictions of Sexual Politics in Contemporary Cuba.” Social Text, no. 4 (1981): 79-95.

———. “Sing the Beloved Country: An Interview with Tisuka Tamasaki on Patriamada.” Film Quarterly 41, no. 1 (Fall 1987): 2-8.

Carter, E., and others. “Interview with Ulrike Ottinger.” Screen Education, no. 41 (Winter/Spring 1982): 34-42.

Cartwright, L., and O. Swanson. “On Representation and Sexual Division: An Interview with Christine Delphy.” Undercut, nos. 14-15 (Summer 1985): 15-22.

Chase, D. “The Director Who Came in from the Cold.” Millimeter, no. 12 (September 1984): 173-77.

Christensen, F. “Sexual Callousness Re-examined.” Journal of Communication, no. 36 (Winter 1986): 174-84.

Clover, C. J. “Her Body, Himself: Gender in the Slasher Film.” Representation, no. 20 (Fall 1987): 187-228.

Coburn, M. F. “Ten Tough Broads.” American Film 8, no. 8 (July/August 1983): 66-67.

Collins, F. “Reading Against the Grain: Independent Feminist Filmmaking and the Black Hole.” Filmnews 8, nos. 11-12 (November/December 1983): 12-13.

Considine, D. M. “The Decline and Possible Rise of the Movie Mother.” Journal of Popular Film and Television 13, no. 1 (Spring 1985): 4-15.

Cook, P. “Breaking Down the Myths: Feminist Film Distribution Today.” Monthly Film Bulletin 53 (January 1986): 4-5.

———. “Femininity and the Masquerade: Anne of the Indies.” Jacques Tourneur, ed. Claire Johnston and Paul Willamen. Edinburgh: Edinburgh Film Festival, 1975.

———. “Star Signs.” Screen 20, nos. 3-4 (1979-1980): 80-88.

———. “The Gold Diggers: An Interview with Sally Potter.” Framework, no. 24 (Spring 1984): 12-30.

———. “Women in Jeopardy” Monthly Film Bulletin 52 (February 1985): 36-39.

Cowie, E. “Fantasy, Psychoanalysis and Feminism in Relation to Now, Voyager and The Reckless Moment.” m/f, no. 9 (1984).

Creed, B. “From Here to Modernity—Feminism and Postmodernism.” Screen 28, no. 2 (Spring 1987): 47-67.

———. “Pornography and Pleasure: The Female Spectator.” Australian Journal of Screen Theory, nos. 15-16 (1983): 27-31.

Davidson, D. “From Virgin to Dynamo: The ‘Amoral Woman’ in European Cinema.” Cinema Journal 21, no. 1 (1981): 31-58.

Dawson, J. “Review of Yvonne Rainer’s Journeys from Berlin.” Sight and Sound 49, no. 3 (1980): 196-97.

“Dialogue on Film: Karen Arthur.” American Film 13, no. 1 (October 1987): 10-13.

“Dialogue on Film: Martha Collidge.” American Film 9, no. 8 (June 1984): 15-18.

Dieckmann, K. “She Shot Him Dead and Good: Film Femmes Get Fatal.” Village Voice (December 2 1986): 81 +.

Dissanayake, W. “Questions of Female Subjectivity, Patriarchy, and Family: Perceptions of Three Indian Film Directors.” East-West Film Journal 3, no. 2 (June 1989): 74-90.

Dittmar, L. “Beyond Gender, and Within It: The Social Construction of Female Desire.” Wide Angle 8, nos. 3-4 (1986): 79-88.

Doane, M. A. “Misrecognition and Identity.” Cine-Tracts 3, no. 3 (Fall 1980): 25-32.

———. “The Abstraction of a Lady: La Signora di tutti.” Cinema Journal 28, no. 1 (Fall 1988): 65-84.

———. “Woman’s Stake: Filming the Female Body.” October, no. 17 (Summer 1981): 22-36.

Donougho, M. “Margarethe von Trotta: Gynemagoguery and the Dilemmas of a Filmmaker.” Literature/Film Quarterly 17, no. 3 (July 1989): 149-60.

Dowd, J. T. “Images of American Women Films: A Method of Analysis.” Women and Performance 1, no. 1 (1983): 49-57.

Draper, E. “Zombie Women When the Gaze is Male.” Wide Angle 10, no. 3 (1988): 52-62.

Eisen, K. “The Young Misogynists of American Cinema.” Cineaste 13, no. 1 (1983): 30-35.

Ellis, J. “On Pornography.” Screen 21, no. 1 (1980): 81-108.

Elsaesser, T. “ ‘It Started with These Images’—Some Notes on Political Film—Making After Brecht in Germany: Helke Sander and Harun Farocki.” Discourse, no. 7 (Spring 1985): 95-120.

Erens, P. “Penthesilea.” Wide Angle 2, no. 3 (1978): 30-36.

———. “Women’s Documentaries as Social History.” Film Library Quarterly 14, nos. 1-2 (1981): 4-9.

Fedkiw, P. “Marguerite Duras: Feminine Field of Hysteria.” Enclitic 6, no. 2 (1982): 78-86.

Fehervary, H., and others. “From Hitler to Hepburn: A Discussion of Women’s Film Production and Reception.” New German Critique, nos. 24-25 (Fall/ Winter 1981-82): 172-85.

Fernley, A., and P. Maloof. “Yentl.” Film Quarterly 38, no. 3 (Spring 1985): 38-45.

Fischer, L. “The Lady Vanishes: Women, Magic and the Movies.” Film Quarterly 33, no. 1 (1979): 30-40.

Fishbein, L. “The Demise of the Cult of True Womanhood in Early American Film, 1900-1930.” Journal of Popular Film and Television 12, no. 2 (1984): 66-72.

———. “The Snake Pit (1948): The Sexist Nature of Sanity.” American Quarterly 31, no. 5 (1979): 641-65.

Fitzgerald, T. “Now About These Women.” Sight and Sound 58, no. 3 (Summer 1989): 191-94.

Flinn, C. “Sound, Woman and the Bomb: Dismembering the ‘Great Whatsit’ in Kiss Me Deadly.” Wide Angle 8, nos. 3-4 (1986): 115-27.

———. “The ‘Problem’ of Femininity in the Theories of Film Music.” Screen 27, no. 6 (November/December 1986): 56-72.

Flitterman, S. “From Deesse to Idee: Agnes Varda’s Cleo from Five to Seven.” Enclitic 7, no. 2 (Fall 1983): 82-90.

———. “Montage/Discourse: Germaine Dulac’s The Smiling Madame Beudet.” Wide Angle 4, no. 3 (1981): 54-59.

———. “Woman, Desire and the Look: Feminism and the Enunciative Apparatus in Cinema.” Cine-Tracts 2, no. 1 (1978): 63-68.

Flitterman, S., and J. Suter. “Textual Riddles: Woman as Enigma or Site of Social Meanings?: An Interview with Laura Mulvey.” Discourse, no. 1 (Fall 1979): 86-127.

Foote, C. J. “Changing Images of Women in the Western Film.” Journal of the West, no. 22 (October 1983): 64-71.

Forbes, J. “Agnes Varda: The Gaze of the Medusa?” Sight and Sound 58, no. 2 (Spring 1989): 122-24.

Friedberg, A. “Misconception = the ‘Division of Labor’ In the Childbirth Film.” Millenium Film Journal, nos. 4-5 (Summer/Fall 1979): 64-70.

Friedman, L. “An Interview with Peter Wollen and Laura Mulvey on Riddles of the Sphinx.” Millenium Film Journal, nos. 4-5 (Summer/Fall 1979): 14-32.

Fudakowska, A. “The Mirror of Feminism in Film.” Cinema Canada, no. 108 (June 1984): 8-19.

Fussell, B. “The Films of Mabel Norman.” Film History 2, no. 4 (1988): 373-91.

Gaines, J. “The Showgirl and the Wolf.” Cinema Journal 20, no. 1 (1980): 53-67.

Georgakas, D. and W. A. Starr. “ ‘The Primal Fear’: An Interview with Anne-Claire Poirer.” Cineaste 10, no. 3 (1980): 20-21 +.

Gever, M. “Girl Crazy: Lesbian Narratives in She Must Be Seeing Things and Damned If You Don’t.” The Independent 11, no. 6 (July 1988): 14-18.

Glassman, D. “The Feminine Subject as History Writer in Hiroshima Mon Amor.” Enclitic 5, no. 1 (1981): 43-53.

Gledhill, C. and E. A. Kaplan. “Dialogue on Stella Dallas and Feminist Film.” Cinema Journal 25, no. 4 (1986): 44-53.

Glicksman, M. “Women in Film (Just Barely): Ms Treatment.” Film Comment 21, no. 6 (November/December 1985): 20-25.

Godwin, G. “The Mermaid as the Subject.” Cinema Canada, no. 152 (May 1988): 23-25.

Goldman, D. “Woman with a Movie Camera.” The Independent 8 (July/August 1985): 4-5.

Gubar, S. “Representing Pornography: Feminism, Criticism, and Depictions of Female Violation.” Critical Inquiry 13, no. 4 (Summer 1987): 712-41.

Gustafson, J. “The Whore with the Heart of Gold: A Second Look at Klute and McCabe and Mrs. Miller.” Cineaste 11, no. 2 (1981): 14-17.

Hansen, M. “Pleasure, Ambivalence, Identification: Valentino and Female Spectatorship.” Cinema Journal 25, no. 1 (Summer 1986): 6-32.

———. “Visual Pleasure and the Problem of Feminine/Feminist Discourse: Ulrike Ottinger’s Ticket of No Return.” New German Critique, no. 31 (1984): 95-108.

Harbord, P. “Interview with Jutta Brueckner.” Screen Education, no. 40 (Autumn/ Winter 1981-82): 48-57.

Hark, I. R. “That Obscure Subject of Desire: Gender, Sexuality, and Subjugation in the Lewton/Tourneur Cat People.” New Orleans Review 14, no. 2 (Summer 1987): 47-54.

Harrison, S. “The Representation of Women.” In Britain and the Cinema in the Second World War, ed. by Phillip M. Taylor. New York: St. Martin’s Press, 1988.

Hartog, S., and J. C. Rodrigues. “Anna Carolina Teixeira Soares: Conversation 2.” Framework, no. 28 (1985): 64-69.

Harvey, S. “An Introduction to Song of the Shirt.” Undercut, no. 1 (1981).

———. “A Passion for Her Work.” (Bembeg) Village Voice (March 6, 1985): 52.

———. “Doll’s Eye: An Interview with Jan Worth and Annie Brown.” Framework, no. 21 (Summer 1983): 50-54.

Haskell, M. “Good Girls, Earth Mothers, and Sluts in Film.” Ms 12 (February 1984): 35-37.

———. “Ideological Criticism: The Uses and Abuses of a Feminist Approach to Film.” Florida State Conference on Film and Literature, no. 4 (1979): 119-31.

———. “Women in the Movies Grow Up.” Psychology Today 17 (January 1983): 18-24 +.

Heath, S. “Difference.” Screen 19, no. 3 (1978): 51-112.

Heininger, J. E. “Not So Liberated Ladies: Images of Women in Films of the 1930’s.” Film Library Quarterly 14, nos. 1-2 (1981): 29-39.

Herman, J. “Just Like At Home.” Film Quarterly 34, no. 1 (Fall 1980): 56-59.

Heung, M. “What’s the Matter with Sara Jane?”: Daughters and Mothers in Douglas Sirk’s Imitation of Life.” Cinema Journal 26, no. 3 (Spring 1987): 21-43.

Holmlund, C. “Sexuality and Power in Male Doppelganger Cinema: The Case of Clint Eastwood’s Tightrope.” Cinema Journal 26, no. 1 (1986): 31-42.

———. “Visible Difference and Flex Appeal: The Body, Sex, Sexuality, and Race in the Pumping Iron Films.” Cinema Journal 28, no. 4 (Summer 1989): 38-51.

Hyams, B. “Is the Apolitical Woman at Peace?: A Reading of the Fairy Tale in Germany, Pale Mother. Wide Angle 10, no. 3 (1988): 40-51.

Ibbetson, P. “See You in My Dreams.” Film Journal 1, no. 2 (Summer 1976): 76-89.

Insdorf, A. “From France: A Women’s Wave.” American Film, no. 5 (January/February 1980): 50-55.

Isaak, J. “Women: The Ruin of Representation.” Afterimage 12 (April 1985): 6-8.

Jachne, K. “Boat People: And Interview with Ann Hui.” Cineaste 13, no. 2 (1984): 16-19.

Jackson, L. “Labor Relations: An Interview with Lizzie Borden.” Cineaste 15, no. 3 (1987): 4-9.

Jackson, L., and K. Jaehne. “Eavesdropping on Female Voices: A Who’s Who of Contemporary Women Filmmakers.” Cineaste 16, nos. 1-2 (1987-1988): 38-43.

Jackson, R. “British Cinema: Women Questioning Men.” Framework, no. 21 (Summer 1983): 47-49.

———. “An Unsuitable Job For a Man?” Framework, no. 21, (1983): 47-49.

Jacobowitz, F. “Feminist Film Theory and Social Reality.” CineAction!, no. 3-4 (Winter 1986): 21-31.

———. “Joan Bennett: Images of Femininity in Conflict.” CineAction!, no. 7 (Winter 1986-1987): 22-34.

———. “Power and the Masquerade: The Devil Is a Woman.” CineAction!, no. 8 (Spring 1987): 32-41.

Jacobowitz, F., and R. Lippe. “Obsessions in the Melodrama: Amy Jones’ Love Letters.” CineAction!, no. 2 (Fall 1985): 15-21.

Jacobs, L. “The Censorship of Blonde Venus: Textual Analysis and Historical Methods. Cinema Journal 27, no. 3 (Spring 1988): 21-31.

Jaehne, K. “Hooker: Two or Three Things We Know About Her.” Film Comment 23, no. 3 (May/June 1987): 25-32.

———. “I’ve Heard the Mermaids Singing. An Interview with Patricia Rozema.” Cineaste 16, no. 3 (1988): 22-23.

Jaehne, K., and L. Rubenstein. “A Great Woman Theory of History: An Interview with Margarethe von Trotta.” Cineaste 15, no. 4 (1987): 24-28.

Jayamanne, L. “Modes of Performing Bodies and Texts (Some Thoughts on Female Performances).” Australian Journal of Screen Theory, nos. 9-10 (1981): 123-39.

———. “Modes of Performance in Chantal Akerman’s Jeanne Dielman, 23 Quai de Commerce, 1080 Bruxelles.” Australian Journal of Screen Theory, no. 8 (1981): 97-111.

Jeffords, S. “Friendly Civilians: Images of Women and the Feminization of the Audience in Vietnam Films.” Wide Angle 7, no. 4 (1985): 13-22.

Jhirad, S. “Hitchcock’s Women.” Cineaste 13, no. 4 (1984): 30-33.

Judge, M., and L. Spring. “An Interview with Lizzie Borden.” CineAction!, no. 8 (March 1987): 69-76.

Kaplan, E. A. “Feminist Film Criticism: Current Issues and Problems.” Studies in the Literary Imagination 19, no. 1 (1986): 7-20.

———. “Integrating Marxist and Psychoanalytic Approaches in Feminist Film Criticism.” Millenium Film Journal, no. 6 (Spring 1980): 8-17.

———. “Lina Wertmuller’s Sexual Politics.” Marxist Perspective 1, no. 2 (1978): 94-104.

———. “Movies and the Women’s Movement: Sexuality in Recent European and American Films.” Socialist Review, no. 66 (1982): 79-90.

———. “Patterns of Violence to Women in Fritz Lang’s While the City Sleeps.” Wide Angle 3, no. 3 (1980): 55-60.

———. “Pornography And/As Representation.” Enclitic 9, nos. 1-2 (1987): 8-18.

———. “Problematizing Cross-Cultural Analysis: The Case of Women in the Recent Chinese Cinema.” Wide Angle 11, no. 2 (1989): 40-50.

Kenny, L. “An Interview with Julia Lesage.” Afterimage 13, no. 3 (October 1985): 6-9.

Kinder, M. “Ideological Parody in the New German Cinema: Reading The State of Things, Veronika Voss and Germany, Pale Mother as Postmodernist Re-writings of The Searchers, Sunset Boulevard and Blonde Venus.” Quarterly Review of Film and Video (forthcoming).

King, N. “Recent ‘Political’ Documentary: Notes on Union Maids and Harlan County, USA.” Screen 22, no. 2 (1981): 7-18.

Kirby, L. “From Marinetti to Vertov: Woman on the Track of Avant-Garde Representation.” Quarterly Review of Film Studies 10, no. 4 (April 1989): 309-23.

Klonaris, M., and K. Thomadaki. “Cinema of the Body.” Undercut, no. 2 (August 1981): 23-26.

Koch, G. “Ex-Changing the Gaze: Re-Visioning Feminist Film Theory.” New German Critique, no. 34 (Winter 1985): 139-53.

Kolbenschlag, M. C. “The Female Grotesque: Gargoyles in the Cathedrals of Cinema.” Journal of Popular Film and Television 6, no. 4 (1978): 328-41.

Kolker, R. P. “ ‘Your Brains Don’t Show a Bit’: Double Readings of The Accused.” Film Criticism 9, no. 2 (1984-1985): 28-40.

Kotz, L. “Unofficial Stories: Documentaries by Latinas and Latin American Women.” The Independent 12, no. 4 (May 1989): 21-27.

Kuhn, A. “The Camera I: Observations on Documentary.” Screen 19, no. 2 (1978): 71-83.

Lamche, P. “Committed Women: Interview with Sheila McLaughlin and Lynne Tillman.” Framework, nos. 26-27 (1985): 36-45.

———. “Interview with Merata Mita.” Framework, no. 25 (1984): 2-25.

Lawson, S. “Serious Under-Takings—Deconstructions, Demolitions (plus script).” Framework, no. 24 (Spring 1984): 122-44.

Leibman, N. C. “Leave Mother Out: The Fifties Family in American Film and Television.” Wide Angle 10, no. 4 (1988): 24-41.

Linville, S., and K. Casper. “The Ambiguity of Margarethe von Trotta’s Sheer Madness.” Film Criticism 12, no. 1 (Fall 1987): 1-10.

Lippe, R. “Kim Novak: Resistance to Definition.” CineAction!, no. 7 (Winter 1986-1987): 4-21.

Longfellow, B. “Mirelle Dansereau: A Phase Apart.” Cinema Canada, no. 146 (November 1987): 10-11.

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MacDonald, S. “Confession of a Feminist Porn Watcher.” Film Quarterly 36, no. 3 (1983): 10-17.

———. “Damned If You Don’t: An Interview with Su Friedrich.” Afterimage 15, no. 10 (May 1988): 6-10.

———. “Interview with Vivienne Dick.” October, no. 20 (Spring 1982): 82-101.

———. “Yoko Ono: Ideas on Film (Interview/Scripts).” Film Quarterly 43, no. 1 (Fall 1989): 2-23.

Mael, P. “Course File: Images of Women in American Film, Part II.” AFI Educational Newsletter, no. 6 (September/October 1982): 4-7 +.

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Marchetti, G. “An Annotated Working Bibliography: Readings on Women and Pornography.” Jump Cut, no. 26 (December 1981): 56-60.

———. “Four Hundred Years in a Convent, Fifty in Hollywood’: Sexual Identity and Dissent in Contemporary Philippine Cinema.” East-West Film Journal 2, no. 2 (June 1988): 24-48.

———. “The Threat of Captivity: Hollywood and the Sexualization of Race Relations in The Girls of the White Orchid and The Bitter Tea of General Yen.” Journal of Communication Inquiry 11, no. 1 (Winter 1987): 29-42.

Marchetti, G., and K. Tishkeu. “An Interview with Scott B. and Beth B.” Film Journal, nos. 10-11 (Fall/Winter 1981-1982): 158-67.

Martin, D. “Through the Directorial Gender Gap: The Uncompromising Daniele Suissa.” Cinema Canada, no. 104 (February 1984): 8-9.

“Martin Kelly and Laura Mulvey in Conversation.” Afterimage 13, no. 8 (March 1986): 6-8.

Martineau, B. H. “Leading Ladies Behind the Camera.” Cinema Canada, no. 71 (January/February 1981): 17-32.

———. “Notes for a Study of Women’s History in the Media.” Cinema Canada, no. 51 (November/December 1978): 30-34.

———. “The Films of Marta Meszaros or, the Importance of Being Banal.” Film Quarterly 34, no. 1 (1980): 21-27.

Mass, R. “The Mirror Cracked: The Career Woman in a Trio of Lansing Films.” Film Criticism 12, no. 2 (Winter 1987-1988): 23-36.

Mayne, J. “Feminist Film Theory and Criticism.” Signs 11, no. 1 (1985): 81-100.

———. “The Feminist Analogy.” Discourse, no. 7 (Fall 1985): 31-41.

McCormick, R. “One Sings, the Other Doesn’t: An Interview with Agnes Varda.” Cineaste 8, no. 3 (1977-1978): 28-31.

McCormick, R., and B. Thompson. “Feminism in the Japanese Cinema: An Interview with Sachiko Hidari.” Cineaste 9, no. 3 (1979): 26-29.

McCreadie, M. “Summing up the Seventies: Women: The Images.” American Film 5 (December 1979): 31 +.

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McGilligan, P. “Faith Hubley: An Interview.” Film Quarterly 42, no. 2 (Winter 1988-1989): 2-18.

McGreal, J. “Not a Love Story: Feminism and Pornography.” Undercut, no. 6 (Winter 1982-1983): 1-5.

Mellencamp, P. “Film History and Sexual Economics.” Enclitic 7, no. 2 (Fall 1983): 91-105.

———. “Images of Language and Indiscreet Dialogue—The Man Who Envied Women.” Screen 28, no. 2 (Spring 1987): 87-101.

———. “Made in the Fade.” Cine-Tracts 3, no. 4 (1981): 1-17.

———. “Oedipus and the Robot in Metropolis.” Enclitic 5, no. 1 (Spring 1981): 20-42.

“Midsection: Sex and Censorship.” Film Comment 20, no. 6 (November/December 1984): 29-49.

Modleski, T. “A Father Is Being Beaten: Male Feminism and the War Film.” Discourse 10, no. 2 (Spring/Summer 1988): 62-77.

———. “Film Theory’s Detour.” Screen 23, no. 5 (1982): 72-79.

Moeller, H. B. “West German Women’s Cinema: The Case of Margarethe von Trotta.” Film Criticism 9, no. 2 (1984-1985): 51-66.

Mordue, M. “Homeward Bound: Mark Mordue Talks to Australian Director Gillian Armstrong.” Sight and Sound 58, no. 4 (Autumn 1989): 270-72.

Morrison, S. “The Ideological Consequences of Gender on Genre.” CineAction!, nos. 12-13 (August 1988): 40-45.

Morton, J. “Women in Prison Films.” Re/search, no. 10 (1986): 151-52.

Mueller, R. “Interview with Ulrike Ottinger.” Discourse, no. 4 (Winter 1981-1982): 108-26.

———. “The Mirror and the Vamp.” New German Critique, no. 34 (Winter 1985): 176-93.

Mulvey, L. “Afterthoughts on ‘Visual Pleasure and Narrative Cinema’ Inspired by Duel in the Sun.” Framework, no. 10 (Spring 1979): 3-10.

———. “Changes.” Discourse, no. 7 (Fall 1985): 11-30.

———. “Feminism, Film and the Avante-garde.” Framework, no. 10 (Spring 1979): 3-10.

Nelson, J. “Meditations on Media, Technology and the Repressed Feminine.” Cinema Canada, no. 112 (November 1984): 10-13.

———. “Through Her Eyes: The Time of Sweet, Sweet Change: Changes in Feminist Film Practice.” Cinema Canada, no. 116 (March 1985): 20-23.

Norden, M. F. “ ‘A Good Travesty Upon the Suffragette Movement’: Women’s Suffrage Films as Genre.” Journal of Popular Film and Television 13, no. 4 (Winter 1986): 171-77.

O’Brien, K. P. “The Southern Heroine in the Films of the 1930’s.” Journal of Popular Film and Television 14, no. 1 (Spring 1986): 23-32.

Oppe, F. “Exhibiting Dora.” Screen 22, no. 2 (1981): 80-85.

Pajaczkowska, C. “The Heterosexual Presumption: A Contribution to the Debate on Pornography.” Screen 22, no. 1 (1981): 79-94.

Pally, M. “Choice Parts.” Film Comment 21, no. 5 (September/October 1985): 13-17.

———. “Object of the Game.” Film Comment 21, no. 3 (May/June 1985): 68-73.

———. “Ordinary People.” Film Comment 19, no. 6 (November/December 1983): 11-15.

———. “When the Gaze is Gay: Women in Love.” Film Comment 22, no. 2 (March/ April 1986): 35-39.

———. “Women and Porn.” Playboy (November 1987): 41-44 +.

———. “World of Our . . . Mothers.” Film Comment 20, no. 2 (March/April 1984): 11-17.

Palmer, R. B. “The Successful Failure of Therapy in Now Voyager: The Woman’s Picture as Unresponsive Symptom.” Wide Angle 8, no. 1 (1986): 29-38.

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Portuges, C. “Interview with Jackie Raynal.” Massachusetts Review 24, no. 1 (1983): 218-28.

Quart, B. “A Conversation with Agnes Varda.” Film Quarterly 40, no. 2 (Winter 1986): 3-10.

Rainer, Y. “Looking Myself in the Mouth.” October, no. 17 (Summer 1981): 65-76.

Rapping, E. “Hollywood’s New ‘Feminist’ Heroines.” Cineaste 14, no. 4 (1986): 4-9.

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Rich, B. R. “Feminism and Sexuality inn the 1980’s.” Feminist Studies 12, no. 3 (Fall 1986): 525-61.

———. “She Says, He Says: The Power of the Narrator in Modernist Film Politics.” Discourse, no. 6 (Fall 1983): 31-47.

Rickey, C. “Where the Girls Are.” American Film 9, no. 1 (January/February 1984): 48-53 +.

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Rovner, B. “A Special Day.” Film Journal (May 28, 1989): 25-26.

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Sang, H. “The Ascendancy of China’s Women Directors.” China Screen, no. 1 (1986): 9.

Scheib, R. “Ida Lupino: Auteuress.” Film Comment 16, no. 1 (January-February 1980): 54-64.

Schiff, S. “Gun-totin’ Women.” Film Comment 18, no. 1 (January/February 1982): 23-24 +.

———. “Movie Women: Tough But Weak.” Film Comment 18, no. 1 (January/February 1982): 25.

Schwichtenburg, C. “Near the Big Chakra: Vulvar Conspiracy and Protean Film/Text.” Enclitic 4, no. 2 (1980): 78-90.

Seiter, E. “Men, Sex and Money in Recent Family Melodrama.” Journal of the University of Video Association 35, no. 1 (Winter 1983): 17-27.

———. “The Role of the Woman Reader: Eco’s Narrative Theory and Soap Opera.” Tabloid 6 (1981): 36-43.

———. “Stereotypes and the Media: A Re-evaluation.” Journal of Communications 36, no. 2 (Spring 1986): 569-81.

———. “Women’s History, Women’s Melodrama: Deutschland, bleiche Mutter.” The German Quarterly 59, no. 4 (Fall 1986): 569-81.

Shirley, G. “A Woman’s Place.” Cinema Papers, no. 52 (July 1985): 36-38.

Silverman, K. “Helke Sander and the Will to Change.” Discourse, no. 6 (Fall 1983): 10-30.

———. “Histoire d’O: The Story of a Disciplined and Punished Body.” Enclitic 7, no. 2 (1983): 63-81.

———. “Masochism and Subjectivity.” Framework, no. 12 (1981): 2-9.

Silverman, M. “Cine-Feminists in West Berlin.” Quarterly Review of Film Studies 5, no. 2 (1980): 217-32.

Slade, J. W. “Violence in the Hard Core Pornographic Film: A Historical Survey.” Journal of Communications 34, no. 3 (1984): 148-63.

Sloane, K. “Three Hitchcock Heroines: The Domestication of Violence.” New Orleans Review 12, no. 4 (1985): 91-95.

Smith, G. “Post-Mod Squad: Mary Lambert on Siesta Set.” Film Comment 23, no. 6 (November/December 1987): 24-29.

“Some of China’s Women Directors.” China Screen, no. 1 (1986): 10-11.

Starr, C. “Invisible Women.” Sight and Sound 49, no. 4 (1980): 245-47.

Stefanoni, L. “Claudia Weill: Girlfriends.” Forum, no. 190 (December 1979): 774-83.

Stein, S. “On Pictures on Pink Paper by Lis Rhodes.” Undercut, nos. 14-15 (Summer 1985): 62-68.

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Stern, L. “Feminism and Cinema-exchange.” Screen 20, nos. 3-4 (1979-1980): 89-105.

———. “Fiction/Film/Femininity—Paper One.” Australian Journal of Screen Theory, nos. 9-10 (1981): 37-48.

———. “Image Forum: An Interview with Katsue Tomiyama.” Framework, nos. 22-23 (Autumn 1983): 71-73.

———. “Independent Feminist Film-Making in Australia.” Australian Journal of Screen Theory, nos. 5-6 (1979): 105-21.

———. “Point of View: The Blind Spot.” Film Reader 4 (1979): 214-36.

———. “The Body as Evidence.” Screen 23, no. 5 (1982): 38-60.

Studlar, G. “Masochism and the Perverse Pleasures of Cinema.” Quarterly Review of Film Studies 9, no. 4 (Fall 1984): 267-82.

Tadros, C. “The Individualistic Drive of Daniele Suissa.” Cinema Canada, no. 134 (October 1986): 30-33.

Taubin, A. “Daughters of Chaos: Feminist and Avant-Garde Filmmakers.” Village Voice (November 30 1982): 80-81 +.

Taylor, J. R. “Funny Girls and Funny Ladies.” Films and Filming, no. 347 (August 1983): 17-19.

Tey, J. “Silent Screen Heroines: Idealizations on Film.” American Classic Screen 5 (November/December 1980): 6-8.

Tibbetts, J. C. “A Matter of Definition: Out of Bounds in The Girl Friends.” Literature/Film Quarterly 7, no. 4 (1979): 270-76.

Toolin, C. “Attitudes Toward Pornography: What Have the Feminist Missed?” Journal of Popular Culture 17, no. 2 (1983): 167-74.

Trinh, T. M. “Difference: ‘A Special Third World Women Issue.” Discourse, no. 8 (Fall/Winter 1986-1987): 11-38.

———. “Questions of Images and Politics.” The Independent 10 (May 1987): 21-23.

Tuer, D. “Pleasure in the Dark: Sexual Difference and Erotic Deviance in the Articulation of Female Desire.” CineAction!, no. 10 (October 1987): 55—59.

———. “Visions of the Heroic: An Interview with Kay Armatage.” Cinema Canada, no. 145 (October 1987): 30-32.

Vincendeau, G. “Women As Auteures: Notes form Creteil.” Screen 27, nos. 3-4 (1986): 156-62.

Waldman, D. “ ‘At Last I Can Tell It To Someone!’: Feminine Point of View and Subjectivity in the Gothic Romance Film of the 1940s.” Cinema Journal 23, no. 2 (1984): 29-40.

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Watney, S. “Katherine Hepburn and the Cinema of Chastisement.” Screen 26, no. 5 (September/October 1985): 52-62.

Weinstock, J. “Sigmund Freud’s Dora?” Screen 22, no. 2 (1981): 73-79.

Welsch, J. R. “College Course File: Feminist Film Theory/Criticism in the United States.” Journal of Film and Video 39, no. 2 (Spring 1987): 66-82.

Welsch, J., and Tibbetts, J. “Visions of Dracula.” American Classic Screen, no. 5 (November/December 1980): 12-16.

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White, M. “Exploring What We Take for Granted.” Afterimage 12, no. 5 (December 1984): 7-11.

———. “Rehearsing Feminism: Women/History in The Life and Times of Rosie the Riveter and Swing Shift.” Wide Angle 7, no. 3 (1985): 34-43.

———. “Representing Romance: Reading/Writing/Fantasy and the ‘Liberated’ Heroine of Recent Hollywood Films.” Cinema Journal 28, no. 3 (Spring 1989): 41-56.

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Williams, L., and B. R. Rich. “The Right of Re-Vision: Michelle Citron’s Daughter Rite.” Film Quarterly 35, no. 1 (1981): 17-22.

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Yau, E. C. M. “Cultural and Economic Dislocations: Filmic Phantasies of Chinese Women in the 1980s.” Wide Angle 11, no. 2 (1989): 6-21.