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The film experienced a quiet theatrical run, but it had regular television airings in the late 1970s. Among the film's admirers was Roger Ebert, who wrote in his review, the movie "has been criticized in some quarters because Mulligan made it too beautiful, they say, and too nostalgic. Not at all.
Feminist film theory is a theoretical film criticism derived from feminist politics and feminist theory influenced by second-wave feminism and brought about around the 1970s in the United States. With the advancements in film throughout the years feminist film theory has developed and changed to analyse the current ways of film and also go back ...
"Women's Cinema as Counter-Cinema" (1973) in: Claire Johnston (ed.), Notes on Women's Cinema, London: Society for Education in Film and Television, reprinted in: Sue Thornham (ed.), Feminist Film Theory. A Reader, Edinburgh University Press 1999, pp. 31–40 "Feminist Politics and Film History", Screen 16, 3, pp. 115–125
The post 30 Best Feminist Movies to Watch for Women’s History Month appeared first on Reader's Digest. From action to comedy, these are the feminist movies you need to watch, featuring smart ...
Her main academic areas of interest are: film history, film genre, melodrama, pornography, feminist theory and visual culture; all with an emphasis on women, gender, race, and sexuality. [ 1 ] With respect to film genres, she argues that horror, melodrama, and pornography all fall into the category of "body genres", since they are each designed ...
The Other Woman is a 2014 American romantic comedy film directed by Nick Cassavetes, written by Melissa K. Stack, and starring Cameron Diaz, Leslie Mann, Kate Upton, Nikolaj Coster-Waldau, Nicki Minaj, Taylor Kinney, and Don Johnson. The film follows three women—Carly (Diaz), Kate (Mann), and Amber (Upton)—who are all romantically involved ...
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Mulvey discussed aspects of voyeurism and fetishism in the male gaze in her article, "Visual Pleasure and Narrative Cinema".She drew from Alfred Hitchcock's 1954 film, Rear Window, applying terms from Sigmund Freud's theories of psychoanalysis to discuss camera angle, narrative choice, and props in the movie while focusing on the concept of the male gaze.