Recent Approaches to Film Feminisms
Recent Approaches to Film Feminisms
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电影女权主义的最新研究方法
DOI：
10.1086/421877
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发表时间：
2004
期刊：
影响因子：
--
通讯作者：
V. Sobchack
中科院分区：
文献类型：
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作者：
K. Mchugh;V. Sobchack
曾经被弗洛伊德和拉康精神分析所主导，并专注于“凝视”，“性别差异”，“欲望”和“缺乏”，女性主义电影理论和媒体工作已经成为一个日益异质和动态的概念和实践。学者和艺术家不仅拓宽了他们的研究范围和对象，将电视和数字媒体都包括在内，使电影仅被视为运动图像表现和表达的一种媒介;他们还对差异的挑战做出了肯定的（即使是批判性的）回应：妇女之间的差异，对妇女媒体工作的理论和批评方法，以及妇女为各种目的采用的活动图像制作方式。虽然早期的电影女权主义主要以英国和欧洲为中心，但现在全球视角相对地将不同的女权主义，民族主义和媒体在世界各地，跨越阶级，种族和民族群体。《标志》的这期特刊为新电影和媒体女性主义提供了一个论坛，在女性主义电影理论的“第一波”之后超过25年。因此，我们选择的工作，从理论上，历史上，和/或批判性地讨论或证明电影女性主义不仅是一个不断变化的概念装置，而且作为一个多元化的文化实践。为此，该问题纳入了三种不同形式的学术成果。这个问题开始于一个圆桌会议，评估了当前的“学科状态”，以及电影和媒体研究领域在过去几十年中如何变化。十位主要的女权主义电影和媒体学者被邀请参加，他们中的大多数人都是第一个将性别差异和性别的重要性理论化的人，因为这两个因素不仅影响了电影，也影响了观众的观看过程。我们问这些学者，女性主义和女性主义电影理论对她们现在的工作意味着什么，并提出了一系列相关的问题：女性主义电影理论是否仍然存在，还是已经被更广泛、更全球化的媒体、文化和性别理论所吸收或传播？电影女权主义的历史有哪些没有被讲述？精神分析理论是否仍然有
Once dominated by Freudian and Lacanian psychoanalysis and focused on “the gaze,”“sexual difference,”“desire,” and “lack,” feminist film theory and media work have become an increasingly heterogeneous and dynamic set of concepts and practices. Scholars and artists have not only broadened their scope and objects of study to include both television and digital media so that film is regarded as only one medium of moving image representation and expression; they have also responded affirmatively, if critically, to the challenge of difference: differences among women, among theoretical and critical approaches to women’s media work, and among modes of moving image production employed by women for diverse purposes. Whereas earlier film feminism had a primarily Anglo-and Eurocentric focus, now a global perspective comparatively aligns disparate feminisms, nationalisms, and media in various locations and across class, racial, and ethnic groups throughout the world. This special issue of Signs provides a forum for the new film and media feminisms emerging now, more than twenty-five years after the “first wave” of feminist film theory. Accordingly, we have selected work that theoretically, historically, and/or critically either discusses or demonstrates film feminism as not only a changing conceptual apparatus but also as a pluralistic cultural praxis. To this end, the issue incorporates three different formats of scholarly production. The issue begins with a roundtable that assesses the current “state of the discipline” as well as how the field of film and media studies has changed over the past decades. Ten major feminist film and media scholars were invited to participate, most of them among the first to theorize the significance of sexual difference and gender as both informed not only films but also the processes of spectatorship. We asked these scholars what feminism and feminist film theory meant to their work now and raised a series of related questions: Does feminist film theory still exist as such—or has it been absorbed or diffused by broader and more global theories of media, culture, and gender? What are the histories of film feminisms that have not been told? Does psychoanalytic theory still have something