In this major new work of feminist film criticism, Mary Ann Doane examines questions of sexual difference and knowledge in cinematic, theoretical, and psychoanalytic discourses. Femmes Fatales examines Freud, the female spectator, the meaning of the close-up, and the nature of stardom. Duane's analyses of such figures as Pabst's Lulu and Rita Hayworth's Gilda trace the thematics and mechanics of maskes, masquerade, and veiling, with specific attention to the form and technology of the cinema. Working through and against the intellectual frameworks of post-structuralist and psychoanalytic theory, Doane interrogates cinematic and theoretical claims to truth about women which rely on judgements about vision and its stability or instability. Reflecting the shift in conceptual priorities within feminist film theory over the last decade, Femmes Fatales addresses debates over female spectatorhsip, essentialism and anti-essentialism, the tensions between psychoanalysis and history, and the relations between racial and sexual difference. Doane's nuanced and original readings of the femme fatale in cinema demonstrates that confrontations between feminism, film theory and psychoanalysis can be productively destabilizing for each discipline.
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4 of 5 people found the following review helpful:
5.0 out of 5 stars
For those who love Film Noir and fatales!,
This review is from: Femmes Fatales: Feminism, Film Theory, Psychoanalysis (Paperback)
Mary Ann Doane's book, "Femme Fatales" has a great cover with the wonderful Louise Brooks. The essays and articles helped explain feminism and the film industry. It's sad to believe that the film industry will always be a male industry but that's the way it is. We learn from the book about how the audience including ourselves are manipulated by the director's. The author does an excellent job in bringing together the feminine mystique from female's point of view and males at times as well. The femme fatale, long may she rein.
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Inside This Book
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First Sentence:
In his lecture on "Femininity," Freud forcefully inscribes the absence of the female spectator of theory in his notorious statement, "...to those of you who are women this will not apply-you are yourselves the problem...." Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
erotic barter, remembering women, feminist film theory, cinematic institution, maternal melodrama, certain conceptualization, white female sexuality, apparatus theory, feminist film criticism, tragic mulatta, filmmaking practice, female spectatorship, white femininity, classical cinema Key Phrases - Capitalized Phrases (CAPs): (learn more)
Sarah Jane, Pandora's Box, Imitation of Life, Jack the Ripper, Marlene Dietrich, The Gold Diggers, Laura Mulvey, Louise Brooks, Gaby Doriot, Jeanne Dielman, Luce Irigaray, Uncle Pio, Blonde Venus, Jean Veneuse, Riddles of the Sphinx, After Johnny, Bette Davis, Harlem Renaissance, Jean Laplanche, Julia Kristeva, Roland Barthes, The Gay Science, Black Skin, Isa Miranda, Leslie Thorton's Adynata New!
Books on Related Topics | Concordance | Text Stats Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
In his lecture on "Femininity," Freud forcefully inscribes the absence of the female spectator of theory in his notorious statement, "...to those of you who are women this will not apply-you are yourselves the problem...." Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
erotic barter, remembering women, feminist film theory, cinematic institution, maternal melodrama, certain conceptualization, white female sexuality, apparatus theory, feminist film criticism, tragic mulatta, filmmaking practice, female spectatorship, white femininity, classical cinema Key Phrases - Capitalized Phrases (CAPs): (learn more)
Sarah Jane, Pandora's Box, Imitation of Life, Jack the Ripper, Marlene Dietrich, The Gold Diggers, Laura Mulvey, Louise Brooks, Gaby Doriot, Jeanne Dielman, Luce Irigaray, Uncle Pio, Blonde Venus, Jean Veneuse, Riddles of the Sphinx, After Johnny, Bette Davis, Harlem Renaissance, Jean Laplanche, Julia Kristeva, Roland Barthes, The Gay Science, Black Skin, Isa Miranda, Leslie Thorton's Adynata New!
Books on Related Topics | Concordance | Text Stats Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
Citations (learn more)
This book cites 100
books:
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100
books
cite this book:
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- The Gay Science (Dover Philosophical Classics) by Friedrich Nietzsche on 6 pages
- This Sex Which is Not One by Luce Irigaray on 4 pages
- The Question of Lay Analysis: (The Standard Edition) by Sigmund Freud on 4 pages
- Feminine Sexuality: Jacques Lacan and the école freudienne by Jacques Lacan on 4 pages
- Black Skin, White Masks by Frantz Fanon on 4 pages
See all 100 books this book cites
- Fair Sex, Savage Dreams: Race, Psychoanalysis, Sexual Difference by Jean Walton on 7 pages
- Frantz Fanon: Critical Perspectives by Anthony C. Alessandrini on 6 pages
- Uninvited: Classical Hollywood Cinema and Lesbian Representability (Theories of Representation and Difference) by Patricia White on 5 pages
- Dandies: Fashion and Finesse in Art and Culture by Susan Fillin-Yeh on 5 pages
- Film Theory Goes to the Movies (AFI Film Readers) by Jim Collins on page 194, Back Matter (1), and Back Matter (2)
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