Adkins, Lisa. "Objects of Innovation: Post-Occupational Reflexivity and Re-Traditionalizations of Gender." Transformations: Thinking Through Feminism. Ed. Sara Ahmed et al. London: Routledge, 2000. 259-272. (MS)

Alcoff, Linda Martín. "Phenomenology, Post-Structuralism, and Feminist Theory on the Concept of Experience." In Feminist Phenomenology. Linda Fisher and Lester Embree eds. Dordrecht: Kluwer Academic Publishers, 2000.

If meaningful experience must pass the test of discursive formulation, we will preclude the inarticulate from the realm of knowledge, a tendency which has nicely served the interests of Western masculinity by allowing it to ignore forms of oppression that could not be expressed under reigning regimes of discourse. 47 (KP)

Alexander, Meena. "Translated Lives." Performing Hybridity. Ed. May Joseph and Jennifer Natalya Fink. Minneapolis: University of Minnesota Press, 1999. 27. (MS)

Amin, Noushabeh. Daughters of the Revolution. Cinemaya 25-26, 94/95.

Amkpa, Awam. "Floating Signification: Carnivals and the Transgressive Performance of Hybridity." Performing Hybridity. Ed. May Joseph and Jennifer Natalya Fink. Minneapolis: University of Minnesota Press, 1999. 96-105.

To these unhomed people, any cultural event allowed by the dominant culture becomes an occasion for simultaneously denouncing their subordination, performing insubordination, and enunciating varieties of subjectivity that not only challenge but are likely not to be acceptable to the dominant culture.(MS)

Anzaldúa, Gloria. "Borderlands/La Frontera." Borderlands/La Frontera: The New Mestiza. San Francisco: Spinsters/Aunt Lute, 1987. 1-98.

Aufderheide, Patricia."Electronic Public Space: Women Make Movies and P.O.V."The Progressive v. 61 July 1997. [WilsonSelectPlus]

Bal, Mieke. "Reading Art?" in Generations and Geographies in the Visual Arts: Feminist Readings. Griselda Pollock ed. London: Routledge, 1996.

Barlow, Tani. "Theorizing Woman: Funü, Guojia, Jiating (Chinese Women, Chinese State, Chinese Family)." Scattered Hegemonies: Postmodernity and Transnational Feminist Practices. Ed. Inderpal Grewal and Caren Kaplan. Minneapolis: University of Minnesota Press, 1994. 173-196.

I engaged Gayatri Spivak's question - what narratives produced signifiers for women in another tradition - and can now conclude with Judith Butler's insight that gender is not a relation but an apparatus of production that establishes the "sexes" as themselves (192). (MS)

Berelowitz, Jo-Anne. "A Journey Shared: Ursula Biemann's Been There and Back to Nowhere: Gender in Transnational Spaces." Genders 33 (2001).

There is always a potential danger of subscribing to victimology when the privileged, peripatetic artist/curator/documentarian offers kaleidoscopic/telescopic views of the powerless and the un-homed, but this Biemann manages to avoid. (MS)

Berg, Charles Ramírez Berg. "'Nobody's Women' See the Light". Austin Chronicle. Volume 15, no.6

Berry, Chris, "Pauline Chan." Cinemaya, 25-26, 94/95. [Interview with the Director of Traps]

Blocker, Jane. "Woman-House: Architecture, Gender and Hybridity in What's Eating Gilbert Grape." Camera Obscura. 39 (September 30, 1996): 126+. [Gender Watch]

Bonnie Grape is a ballooning example of the woman-house metaphor. This particular manifestation of the hybrid shows the woman house as it relates to the control of bodies, the spectacularization of gender, the facilitation of surveillance, and the closeting of excess. (NG)

Bloom, Lisa. With Other Eyes: Looking at Race and Gender in Visual Culture. Minneapolis: University of Minnesota Press. 1999.

Bluher, Dominique. "Hip-Hop Cinema in France." Camera Obscura 16.1 (2001). [Project Muse]

There has been a lot of critical attention paid recently to both beur cinema and the banlieue film in France. One way of approaching hip-hop cinema, then, is to situate it in contrast with these two more well-known critical definitions. (MS)

Bolt, Barb. "Working Hot: Materialising Practices." In Differential Aesthetics: Art Practices, Philosophy and Feminist Understandings. Penny Florence and Nicola Foster eds. Aldershot: Ashgate. 2000.

Bose, Sudhir and Chatterjee, Partha. "Gentle Subversion of the Status Quo." Cinemaya, 25-26, 94/95.

Brand, Peggy Zeglin. "Disinterestedness & Political Art." N.Paradoxa, Issue 8 (Nov. 1998)

Brand, Peggy Zeglin. "Revising the Aesthetic-Nonaesthetic Distinction: The Aesthetic Value of Activist Art." in Feminism And Tradition In Aesthetics. Peggy Zeglin Brand and Carolyn Korsmeyer eds. University Park: The Pennsylvania State University Press. 1995

We are habituated, in effect, by the way we have learned about art in the past, that is, by the numerous works of "the great masters." Repeated exposure to those works (and only those works) establishes a pattern of likes and dislikes, tastes and tolerances, that results in our developing a taste for only those items sampled so far: the Western male-dominated history of art. (Consider how the viewing of films made by white males has similarly affected viewing audiences. 266-67 (KP)

Brauerhoch, Annette. “Mixed Emotions: Mommie Dearest ­ Between Melodrama and Horror.” Cinema Journal. v35 no1. Fall 1995: 53-64.

Brauerhoch discusses the 1981 film about Joan Crawford, which was basedon a book by Crawford’s adopted daughter. This article is useful for the connection made between the maternal and the horrible, and the formation of feminine identity through the mother. (CH)

Burke, Victoria I. "The Politics of Contradiction: Feminism And The Self." Philosophy TODAY Vol. 44 no. 1 (Spring 200). 44-50.

The feminist, because of her own particular difference from the ideology she inhabits, will inevitably come to understand that ideology as limited, even though it constitutes her. 49 (KP)

Butler, Judith. "Critically Queer." Literary Theories: A Reader and Guide. Ed. Julian Wolfreys. New York: New York University Press, 1999. 570-586. (MS)

Butler, Judith. "Gender Trouble, Feminist Theory and Psychoanalytic Discourse." Space, Gender, Knowledge: Feminist Readings. Ed. Linda McDowell and Joanne P. Sharp. London: Arnold, 1997. 247-261.

It seems crucial to resis the myth of interior origins, understood either as naturalized or culturally fixed. Only then, gender coherence might be understoof as the regulatory fiction it is - rather than the common point of our liberation (260-1). (MS)

Carson, Fiona, Pajaczkowska, Claire (eds.). Feminist Visual Culture New York: Routledge. 2001.

Casal, Susan Sánchez. "In a Neighborhood of Another Color: Latina/Latino Struggles for Home." Burning Down the House: Recycling Domesticity. Ed. Rosemary Marangoly George. Boulder: Westview Press, 1998. 326-354.

I empower myself when I choose to link my history to the experiences of all peoples of color, so that in finding my voice, I do not silence those who would speak with me and for me(349).(MS)

Casimir, Viviane. "Deconstructionist Warriors." Feminista! 4.8 (2002).

Her fight is against the traditional binary discourse. (MS)

Caws, Mary Ann, Kuenzli, Rudolf, Raaberg, Gwen. Surrealism and Women. Cambridge: MIT Press. 1991.

Chatterjee, Gargi and Tam, Augie (transcription and editor). "Is There an Asian American Aesthetics?" in Contemporary Asian American: A Multidisciplinary Reader. Zhaou, Min and Gatewood, James v. (eds.).New York: New York University Press. 2000.

Cherry, Deborah, Beyond the Frame: Feminism and Visual Culture, Britain 1850-1900, New York: Routledge 2000.

Citron, Michelle. “Women’s Film Production: Going Mainstream.” Female Spectators:Looking at Film and Television. Ed. E. Deidre Pribram. London and New York: Verso, 1988. 45-63.

Citron weaves a discussion of the past and future of women’s film making with the story of her development as a filmmaker. She documents a significant shift in the feminist movement(from the social and political fervor of the 1960s and 1970s to the “mainstreaming of feminism”(56) in the 1980s), and argues that women in film must adapt to this by making documentary and avant-garde films as well as more mainstream, narrative films to reach the broadening feminist audience. She ends with this: “What we need now are narrative films by as many women as possible in as many ways as possible about as many things as possible” (62-3). Citron’s direct, honest approach to the contemporary cinematic atmosphere is very inspiring. I would recommend this to anyone desiring greater knowledge of the successes and hurdles of women’s film making. (CH)

Cohen, Margaret and Prendergast, Christopher, (eds.) Spectacles of Realism: Gender, Body, Genre, Minneapolis: University of Minnesota Press. 1995.

Constable, Catherine. "Feminism, Postmodernism and the Aesthetics of Parody." In Differential Aesthetics: Art Practices, Philosophy and Feminist Understandings. Penny Florence and Nicola Foster eds. Aldershot: Ashgate, 2000

Cooppan, Vilashini. "W(h)ither Post-Colonial Studies? Towards the Transnational Study of Race and Nation." Postcolonial Theory and Criticism. Ed. Laura Chrisman and Benita Parry. Cambridge: Boydell & Brewer, 2000. 1-35.(MS)

Cruz-Malavé, Arnaldo. "Toward an Art of Transvestitism: Colonialism and Homosexuality in Puerto Rican Literature." Queer Representations: Reading Lives, Reading Cultures. Ed. Martin Duberman. New York: New York University Press, 1997. 226-244.

Conflating their self with the colonial body of the island of Puerto Rico... [gay and lesbian writers] have set out to liberate both the sexual and national geography of their identity. 227 (MS)

Davis, Hilary E. "The Temptations and Limitations of a Feminist Deaesthetic." The Journal of Aesthetic Education. Vol. 27 no.2 (Spring 1993). 99-105.

The notion of an aesthetic as distinct from the social and political, the emphasis on form, balance, and beauty, allows any subject matter, no matter how hideous, to be condoned and even labeled beautiful or transcendent. Yet, a prescriptive feminist aesthetic restricts the individual artist's creative autonomy and underestimates the respondent's ability to distinguish representations from reality. 104 (KP)

De Lauretis, Teresa. “Aesthetic and Feminist Theory: Rethinking Women’s Cinema.” Female Spectators: Looking at Film and Television. Ed. E. Deidre Pribram. London and New York: Verso, 1988.

De Lauretis considers the modes of representation used by womenfilmmakers, and suggests that the presentation of differences among women(racial, sexual, etc) is necessary to combat generalization, as captured in the notion of the “feminine aesthetic.” She writes, “Since the first women’s film festivals in 1972 (New York, Edinburgh) and the first journal of feminist film criticism (Women and Film, published in Berkeley from 1972 to 1975), the question of women’s expression has been one of both self-expression and communication with other women, a question at once of the creation/invention of new images and of the creation/imagining of new forms of community. If we re-think the problem of a specificity of women’s cinema and aesthetic forms in this manner, in terms of address ­ who is making films for whom, who is looking and speaking, how, where and to whom ­ then what has been seen as a rift, a division, an ideological split within feminist film culture between theory and practice, or between formalism and activism, may appear to be the very strength, the drive and productive heterogeneity of feminism” (183). (CH)

Dickinson, Peter. "Towards a Transnational, Translational Feminist Poetics: Lesbian Fiction/Theory In Canada and Quebec." Here is Queer: Nationalisms, Sexualities and the Literatures of Canada. Ed. Peter Dickinson. Toronto: University of Toronto Press, 1999. 131-155.

The sex-gender paradox at the heart of patriarchal/nationalist discourse...is exposed as a flawed ideological construction in the theoretical fictions (and fictional theories) of lesbian-feminist writers like Nicole Brossard and Daphne Marlatt, who repeatedly return to the body as the site from which to anatomize the tropes and images used to other women, and through which to re-member an alternative genealogy...of sexual difference(132). (MS)

D'Lugo, Marvin. "From Exile to Ethnicity: Nestor Almendros and Orlando Jiménez-Leal's Improper Conduct." The Ethnic Eye: Latino Media Arts. Ed. Chon A. Noriega and Ana M. López. Minneapolis: University of Minnesota Press, 1996. 171-182.

Caracol's statement effectively unhinges the text from its Cuban roots and enunciates a position that subverts the exilic obsession with the homeland, revealing the underlying tension of exilic culture as a crisis of the temporality of national identity and affiliation through the filter of sexuality(179). (MS)

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

Doane focuses her book on the “woman’s film,” and considers themes of women’s spectatorship and subjectivity with respect to feminist film theory. She writes, “The aim of this study is to outline the terms in which a female spectator is conceptualized ­ that is, the terms in which she is simultaneously projected and assumed as an image (the focal point of an address) by the genre of the woman’s film. And that image is a troubled one. Here, the representations of the cinema and the representations provided by psychoanalysis of female subjectivity coincide. For each system specifies that the woman’s relation to desire is difficult if not impossible. Paradoxically, her only access is to the desire to desire” (9). (CH)

Erikson, Peter, and Hulse, Clark. Early Modern Visual Culture, Philadelphia, University of Pennsylvania Press, 2000.

Felski, Rita."Why Feminism Doesn't Need an Aesthetic (And Why It Can't Ignore Aesthetics)" in Feminism and Tradition in Aesthetics. Peggy Zeglin Brand and Carolyn Korsmeyer eds. University Park: Pennsylvania State University Press, 1995.

These feminist perspectives take seriously the determining rather than epiphenomenal status of symbolic structures; texts do not simply reflect a pre-given reality but actively produce interpretative schemata through which the world is rendered meaningful. 437 (KP)

Fernandes, Leela. "Reading 'India's Bandit Queen': A Trans/national Feminist Perspective on the Discrepancies of Representation." Signs. 25 (Autumn 1999): 123+. [Expanded Academic Index].

The convergence of specific strategies of representation in the film, the historical tradition of the genre of the ethnographic film, and the political economy of the production and consumption of texts impel Bandit Queen to recodify power-laden boundaries between the First and Third Worlds. Such processes are of particular significance for feminist analysis when the spectacle consists of the image of violence against the 'subaltern Third World woman.' I am suggesting that a feminist project of representing violence against women contains within it the potential for reinvoking orientalist narratives, in particular, by marking the 'Third World' as the naturalized site of an unrestrained violence. In Bandit Queen, the representation of rape results in a gendered transformation of the Third World into a spectacle of violence. Recent feminist research has demonstrated the ways in which the construction of the paradigm of Third World woman as victim serves as the means for the production of a colonial relationship between First and Third Worlds (Mohanty 1991). (NG)

Feuer, Jane. “‘Daughter Rite’: Living with our Pain and Love.” Films For Women. Ed. Charlotte Brunsdon. BFI Publishing, 1986. 24-30.

Feuer analyzes Daughter Rite, with respect to the ways in which Michelle Citron used what Feuer calls the three different “channels” of filmmaking: “fiction, documentary, and experimental”(25). Feuer fully investigates the cinematic techniques and interpretations of Daughter Rite.

Feinberg, Leslie. Stone Butch Blues: A Novel. Ithaca: Firebrand Books, 1993.

Fischer, Lucy. Cinematernity:Film, Motherhood, Genre. Princeton, N.J.:Princeton University Press, 1996.

In the chapter entitled “The Nonfiction Film: ‘The Reproduction of Mothering’: Documenting the Mother-Daughter Bond,” Fischer explores a variety of films that focused on mother-daughter relationships. She juxtaposes man-made films (such as Grey Gardens, directed by David and Albert Maysles) with woman-made films, such as News From Home (Chantal Akerman, 1991) and Coffee-Coloured Children (Ngozi A. Onwurah, 1998). Fischer explores the ways in which women’s documentary and avant-garde films display a multitude of visions of the mother-daughter relationship, rather than the distinctly more homogeneous, melodramatic works of fictional film. (CH)

Even though [digital video games] suggest that multiple points of view can be destabilizing, right now they remake stereotypical female sex objects. (MS)

Fuchs, Cynthia. "'Hard to Believe': Reality Anxieties in Without You I'm Nothing, Paris Is Burning, and "Dunyementaries." Between the Sheets, In the Streets: Queer, Lesbian and Gay Documentary. Ed. Chris Homlund and Cynthia Fuchs. Minneapolis: University of Minnesota Press, 1997. 190-206.

This engagement [of the instabilities of identity and experience due to different audiences] in turn constitutes a "queering" of documentary possibilities, acknowledging the reality of what is conventionally unseen or unreadable, what is "closeted," what is "hard to believe" (191-2). (MS)

Garber, Linda. "Around 1991: The Rise of Queer Theory and the Lesbian Intertext." Identity Poetics: Race, Class and the Lesbian-Feminist Roots of Queer Theory. New York: Columbia University Press, 2001. 176-208.(MS)

Garber, Linda. "The Social Construction of Lesbian Feminism." Identity Poetics: Race, Class and the Lesbian-Feminist Roots of Queer Theory. New York: Columbia University Press, 2001. 10-30. (MS)

Gibson-Graham, J.K. "Querying Globalization." Postcolonial, Queer: Theoretical Intersections. Ed., John C. Hawley. Albany: SUNY Press, 2001. 239-275.

Gizycki, Marcin"Splendid Artists: Central and East European Women Animators"

Goldstein, Linda. "Getting into Lesbian Shorts: White Spectators and Performative Documentaries by Makers of Color." Between the Sheets, In the Streets: Queer, Lesbian, Gay Documentary. Ed. Chris Homlund and Cynthia Fuchs. Minneapolis: University of Minnesota Press, 1997. 175-189.

Insofar as spectators are cognizant of their position as white tourists in the documented realities of lesbians of color, they may be discomfited by their implicit alliance with L's bold gesture of interracial desire[Greetings from Africa] or by their explicit exclusion from Maggie's and Donna's articulated desires [Sisters in the Life]. 180 (MS)

Gopinath, Gayatri. "Homo-Economics: Queer Sexualities in a Transnational Frame." Burning Down the House: Recycling Domesticity. Ed. Rosemary Marangoly George. Boulder: Westview Press, 1998. 102-124.

Clearly the 'queer diaspora' that is called into existence by such cultural practices is far from a transcendent or egalitarian liberatory space, rather it is one marked by multiple power hierarchies, the 'scattered hegemonies' against and through which the category of sexuality in the context of transnational culture must be read(119). (MS)

Grewal, Inderpal and Caren Kaplan. "Introduction: Transnational Feminist Practices and Questions of Postmodernity." Scattered Hegemonies: Postmodernity and Transnational Feminist Practices. Ed. Inderpal Grewal and Caren Kaplan. Minneapolis: University of Minnesota Press, 1994. 1-33.

Without an analysis of transnational scattered hegemonies that reveal themselves in gender relations, feminist movements will remain isolated and prone to reproducing the universalizing gestures of dominant Western cultures (17).(MS)

Grewal, Inderpal. "Constructing National Subjects: The British Museum and Its Guidebooks." With Other Eyes: Looking at Race and Gender in Visual Culture. Ed. Lisa Bloom. Minneapolis: University of Minnesota Press, 1999. 44-57. (MS)

Grewal, Inderpal and Caren Kaplan. "Warrior Marks: Global Womanism's Neo-Colonial Discourse in a Multicultural Context." camera obscura 39 (30 September 1996). [Gender Watch]

The film Warrior Marks and its accompanying coffeetable print version, Warrior Marks: Female Genital Mutilation and the Sexual Blinding of Women, are recent examples of contemporary Euro-American multicultural feminism in its imperializing vein as global womanism. (MS)

Grindstaff, Laura. "A Pygmalion Tale Retold: Remaking La Femme Nikita." Camera Obscura 16.2 (2001).

As a US television show filmed in Canada, starring an Australian woman (raised in Papua New Guinea), using more Canadian than American talent, and based on an American-influenced French film that was remade twice, first in Hong Kong and then in the US, the show is a veritable postmodern pastiche of intercultural referents. (MS)

Grossman, Andrew. "Chinese Transnational Feminism and the Cinema of Suffering: Feminism Adrift in a Sea of Ogling Orientalism, Global Capitalism, and Fatalist Aesthetics." Bright Lights Film Journal 35 (January 2002).

People will defend the art of suffering by saying, 'At least it is realistic - that is what life is really like!' But I will say, 'What good is your mediocre realism if it offers no revelation, no original instruction, and feebly aims to make a grand statement by concluding with the suffering that we already accept as a priori universal knowledge?'(MS)

Guertin, Carolyn. Gesturing Toward the Visual: Virtual Reality, Hypertext and Embodied Feminist Criticism"

Hammett, Jennifer. "The Ideological Impediment: Feminism and Film Theory." Cinema Journal 36 No.2 Winter 1997, 85-99.

Hein, Hilda. "Where is the Woman in Feminist Theory? The Case of Aesthetics." Philosophic Exchange Vol. 21-22. 21-36.

…feminism as a theory is a pattern of thinking that is not fundamentally about women, although it begins with a gendered perspective. It is, rather, an alternative way of theorizing about a host of topics that include, but are not limited to women. 21 (KP)

Helms, Udo. "Obscenity and Homosexual Depiction in Japan." Queer Asian Cinema: Shadows in the Shade. Ed. Andrew Grossman. Binghamton: Harrington Park Press [Haworth]. 2000. 127-147.

The official explanation of the prohibition of obscenity, protecting the moral values of Japanese society in respect to an individual sense of shame in 'normal' people, is of course very incoherent considering the fact that Japan is a county in which virtually ever aspect of sexuality is highly commercialized(139). (MS)

Hess, John and Patricia R. "Transnational Digital Imaginaries." Wide Angle 21.1 (January 1999).

Transnational digital imaginaries are suspended somewhere in-between the material realisitive of the current political era and our collective ability to radically reimagine different ways of thinking about, producing, and interfacing with visual works. (MS)

Homlund, Chris. "When Autobiography Meets Ethnography and Girl Meets Girl: The 'Dyke Docs' of Sadie Benning and Su Friedrich." Between the Sheets, In the Streets: Queer, Lesbian, Gay Documentary. Ed. Chris Homlund and Cynthia Fuchs. Minneapolis: University of Minnesota Press, 1997.

hooks, bell. "Misogyny, Gangsta rap, and The Piano, Z Magazine, 1994.

hooks, bell. "The Oppositional Gaze: Black Female Spectators." In Feminism And Tradition In Aesthetics. Peggy Zeglin Brand and Carolyn Korsmeyer eds. University Park:Pennsylvania State University Press, 1995.

Identifying with neither the phallocentric gaze nor the construction of white womanhood as lack, critical black female spectators construct a theory of looking relations where cinematic visual delight is the pleasure of interrogation. 153 (KP)

Huag, Kate. "Femme Experimentale Interviews with Carolee Sneemann, Barbara Hammer, and Chick Strand." Wide Angle 10.1 (1998) 1-19

Humm, Maggie. Feminism and Film . Edinburgh : Edinburgh University Press ; Bloomington : Indiana University Press. 1997.

Issa, Rose. "'Re-Orienting our Views': A Rediscovery of Iran Through Its Cinema and Women Filmmakers." N. Paradoxa 5 (May 1997). [Project Muse]

It was a true discovery for all of us to hear the active voices of these women despite their work under difficult conditions and limitations. (MS)

Jacobs, Katrien"The Status of Contemporary Women Filmmakers"

Jayamanne, Laleen,(ed.) Kiss Me Deadly: Feminism and Cinema for the Moment, Sydney: Power Publications. 1995.

Kaplan, E. Ann. “Motherhood and Representation: From Postwar Freudian Figurations to Postmodernism.” E. Ann Kaplan, ed. Psychoanalysis & Cinema. New York : Routledge, 1990. 128-142.

Kaplan considers the history of the ways in which motherhood is represented in mainstream, narrative film. She analyses motherhood in Now Voyager (Irving Rapper, 1942) and Marnie (Alfred Hitchcock, 1964), and connects these cinematic moments to later films dealing with motherhood. Kaplan identifies a fairly consistent negative depiction of mothers in narrative film throughout the post-war years, and argues, “motherhood is perhaps a victim of capitalism’s postmodern attempt to blame women for not nurturing while it develops reproductive technologies that complicate the biological mother-child relation and keep women in the labor force. Capitalism thus can exploit woman as worker and consumer while bemoaning her absence from the home. . . And meanwhile, what woman may want of the maternal remains unknown or is it merely still unspoken?” (142) This notion of the woman’s “unspoken” desires connects to Michelle Citron’s discussion (as described above) of the need for more women’s “voices” in narrative film. Thus both Kaplan and Citron identify discrepancies and gaps in representation of women, whether it is as mothers, or more generally as women in modern society. (CH)

Kaplan, E. Ann. Looking for the Other: Feminism, Film, and the Imperial Gaze. New York: Routledge, 1997.

Kauffman, Linda S. "Impolitic Bodies: Race and Desire." Bad Girls and Sick Boys: Fantasies in Contemporary Art and Culture. Berkeley: University of California Press, 1998. 83-100.

In all three films [Suture, The Attendant, and The Body Beautiful], fantasies oscillate rapidly on the screen; the subject is in flux, rather than being a fixed and static entity. Nor is the subject a sexual or racial spokesperson. 100 (MS)

Kent, Mohini, "Gurinder Chadha: {A} Woman's Eye." Cinemaya, 25-26, 94/95.

Kleeblatt, Norman L. "Multivalent Voices: Gay and Lesbian Artists Who Are Also Jewish Search for Ways to Address Questions of Ethnicity and Sexuality in Their Work." Art In America 83.12 (December 1995) [Expanded Academic Index]

In combining the ethnic, cultural and religious aspects of Jewish identity with sexual orientation, the work of these artists reflects the role played by feminist, lesbian and gay scholarship in directing closer attention to the complex intersections of race, class and gender. (MS)

Knight, Deborah. "Women, Subjectivity, and the Rhetoric of Anti-Humanism in Feminist Film Theory." New Literary History. 26.1 (1995): 39-56. [Expanded Academic Index]

Kopanevova, Galina. "A Garden of Mystery." Film a Doba, 3, 94. [Interview with Agnieszka Holland.]

Korsmeyer, Carolyn. "Perceptions, Pleasures, Arts: Considering Aesthetics." In Philosophy in a Feminist Voice: Critiques And Reconstructions. Janet A. Kounary ed. Princeton: Princeton University Press, 1998.

Kuhn, Annette;Stacey, Jackie. Screen Histories: A Screen Reader. Oxford:Oxford University Press. 1999.

Kuhn, Annette. Women’s Pictures: Feminism and Cinema. 2nd ed. New York: Verso, 1994.

Lane, Christina. Feminist Hollywood : from Born in Flames to Point Break. Detroit: Wayne State University Press. 2000.

Lane, Christina."The Liminal Iconography of Jodie Foster". Journal of Popular Films and Television. January 1, 1995

Lanol, Marra P. L. "In a Macho Society Gender Makes a Difference." Cinemaya, 25-26, 94/95.

Lauren. "The Chemistry of Discrimination: An Interview with Vancouver Multidisciplinary Artist Haruko Okano." Soapbox Girls. (October 2000).

I'm using a different way of teaching about racism.

Lauter, Estella. "Re-enfranchising Art: Feminist Interventions in the Theory of Art." in Aesthetics in Feminist Perspective. Hilde Hein and Carolyn Korsmeyer eds. Bloomington: Indiana University Press, 1993.

Feminist theory describes art as everexpanding and seeks to identify it through exemplars and models instead of trying to define it. 31(KP)

Lee, Helen. "A Peculiar Sensation: A Personal Genealogy of Korean American Women's Cinema."(Race in Contemporary American Cinema, part 8) Cineaste v23, n1 (Wntr, 1997):36

Leonard, Zoe and Cheryl Dunye. "The Fae Richards Photo Archive." With Other Eyes: Looking at Race and Gender in Visual Culture. Ed. Lisa Bloom. Minneapolis: University of Minnesota Press, 1999. 133-138.

Lesage, Julia. “Political Aesthetics of the Feminist Documentary Film.” Films For Women. Ed. Charlotte Brunsdon. BFI Publishing, 1986. 14-23.

Lesage situates feminist documentary films within a moment of consciousness-raising, and focuses on the film, Self Health. This article was first written in 1978, but her concerns about the 1970s essentialist documentaries are applicable in today’s discussion of feminist films. She writes, “The film’s very strength, the emphasis on the experimental, can sometimes be a political limitation, especially when the film limits itself to the individual and offers little or no analysis or sense of collective process leading to social change”(16). Here the author brings up many pertinent issues about politics, the [intended] audience, and the effect of the film. (CH)

Lewis, Reina. "Cross-Cultural Reiterations: Demetra Vaka Brown and the Performance of Racialized Female Beauty." Performing the Body / Performing the Text. Ed. Amelia Jones and Andrew Stephenson. London: Routledge, 1999. 56-75.

Low, Gail Ching-Liang. "Crossing Boundaries: Rethinking/Teaching Identity." Transformations: Thinking Through Feminism. Ed. Sara Ahmed et al. London: Routledge, 2000. 159-172.

Lugones, María C. and Elizabeth V. Spelman. "Have We Got a Theory for You! Feminist Theory, Cultural Imperialism and the Demand for 'The Woman's Voice.'" In Feminism And Philosophy: Essential Readings in Theory, Reinterpretation, and Application. Nancy Tuana and Rosemarie Tong eds. Boulder: Westview Press. 1995.

Lugones, María. "Playfulness, "World"-Traveling, and Loving Perception." In Women, Knowledge, and Reality: Explorations in Feminist Philosophy. 2nd ed. Ann Garry and Marilyn Pearsall eds. New York: Routledge, 1996

Marcus, Laura. "Feminist Aesthetics and the New Realism." In New Feminist Discourses: Critical Essays on Theories and Texts. Isobel Armstrong ed. London: Routledge, 1992.

Martin, Lauren. "The Mixed-Race Queer Girl Manifesto." Quantify 1 (2000).

I've never met anyone else who can call herself a Chinese-Hungarian-Jewish-American middle-class queer girl. Does this mean I don't have a community to call my own? Of course not. I will forge a community out of construction paper and macaroni if I have to. (MS)

Matsumoto,Lee-Ann. "Stranger in a Familiar Land: Gender, Race, Sexuality, and Academe"

Maudlin, Beth. "Lesbian Images in the Classic Film Era: Beth Mauldin Talks with a Lesbian Film Documentarian." Gay and Lesbian Review 8.6 (2001). [Contemporary Women's Issues]

What lesbians seem to want is socialist realism. (Barbara Hammer). (MS)

Mayne, Judith. "Paradoxes of Spectatorship." In Viewing Positions: Ways of Seeing Film. Linda Williams ed. New Brunswick: Rutgers University Press, 1995.

Mellencamp, Patricia, A Fine Romance : Five Ages of Film Feminism.: Philadelphia:Temple University Press, 1995.

McHugh, Kathleen. "Irony and Dissembing: Queer Tactics for Experimental Documentary." Between the Sheets, In the Streets: Queer, Lesbian, Gay Documentary. Chris Homlund and Cynthia Fuchs, eds.. Minneapolis: University of Minnesota Press, 1997. 224-240.

By linking visual documentation with rhetorical fallacies, appearance with deception, visibility with demonstrations of what we do not or cannot know about the subjects depicted, all these filmmakers [John Goss, Joyan Saunders, Bill Jones] register a profound and crucial lesson about queer identity and documentary. 240 (MS)

Mirzoeff, Nicholas(ed.). The Visual Culture Reader. New York: Routledge, 1998.

Mitchell, W.J.T. "What Do Pictures Really Want?" October 77 1996 71-82.[Wilson Art Full Text]

Meskimmon, Marsha. "From Matter to Materialisations: Feminist Politics and the Aesthetics of Radical Difference." In Differential Aesthetics: Art Practices, Philosophy and Feminist Understandings. Penny Florence and Nicola Foster eds. Aldershot: Ashgate. 2000.

Montero, Oscar. "Notes for a Queer Reading of Latin American Literature." Queer Representations: Reading Lives, Reading Cultures. Ed. Marin Duberman. New York: New York University Press, 1997. 216-225.

Paradoxically, as a gay identity emerged, the Latino side of my queerness...had to find a closet of its own. A gay Latino identity had to be reclaimed and rebuilt in various ways" (217). (MS)

Moorti, Sujata. "Inflamed Passions: Fire, the Woman Question, and the Policing of Cultural Borders." Genders 32 (2000). 9 February 2002.

It is not the presence of the queer subject that appears threatening to national identity formation, it is the decentering of the heterosexual family that is contested. (MS)

Mootoo, Shani. "Hybridity and Other Poems." Performing Hybridity. Ed. May Joseph and Jennifer Natalya Fink. Minneapolis: University of Minnesota Press, 1999. 106-111. (MS)

Morris, Gary. "Abigal Child: In Brief" Bright Lights Film Journal. Volume 32. 2001.

Morris, Gary. "Sadie Benning's Pixel Pleasures." Bright Lights Film Journal 24 (April 1999).

My dad said to me, 'You know, I'm really worried that all your work is just going to be on one subject.' And I was like, 'Yeah, my life.' He makes [experimental] films. What are his films about? They're about his life. It just so happens that his sexuality isn't something that people are going to label or talk about or say, 'He's the heterosexual artist.' [Sadie Benning](MS)

Morris, Gary. "Dialogues With Madwomen: Allie Light" Bright Lights Film Journal. Volume 14. 1995.

Morris, Gary. "Tender Fictions: Barbara Hammer's Truth Club". Bright Lights Film Journal. Volume 17. 1996

Morton, Donald E. "Global (Sexual) Politics, Class Struggle, and the Queer Left." Postcolonial, Queer: Theoretical Intersections. Ed. Hawley, John C. Albany: SUNY Press, 2001. 207-238.

Muñoz, José Esteban. "Flaming Latinas: Ela Troyano's Carmelita Tropicana: Your Kunst Is Your Waffen(1993)." The Ethnic Eye: Latino Media Arts. Ed. Chon A. Noriega and Ana M. Lopez. Minneapolis: University of Minnesota Press. 1996. 129-142.

Camp is, then, more than a worldview; it is a strategic response to the breakdown of representation that occurs when a queer, ethnically marked, or other subject encounters her inability to fit within the majoritarian representational regime. 140 (MS).

Mullin, Amy. "Adorno, Art Theory, And Feminist Practice." Philosophy Today. Vol. 44 no. 1 (Spring 2000). 16-30.

Those feminist art practices that combine a focus on gender and sex with an examination and exploration of other aspects of a person's identity and identifications, are particularly well suited to serve as exemplars for feminist theory. 28. (KP)

Nam, Soo-Young. "Recounting 'History': Documentary as Women's Cinema." Asian Journal of Women's Studies. 7.1 (March 31, 2001): 80+. [Gender Watch]

By examining women's voices as central forces of historicization - rather than as mere informants - I will argue it is only when we release ourselves from the logic of unity and synchronicity that we understand the individual's subjectivity presented at the moment of the interview. (NG)

Nead, Lynda, Victorian Babylon: People, Streets and Images in Nineteenth Century London. New Haven: Yale University Press. 2000.

Negrón-Muntaner, Frances. "Drama Queens: Latino Gay and Lesbian Independent Film/Video." The Ethnic Eye: Latino Media Arts. Ed. Chon A. Noriega and Ana M. López. Minneapolis: University of Minnesota Press, 1996. 59-78.

These Latino gay and lesbian films/videos suggest that drama queens continue to question and invent ways of representing the complexity of queer cultures and the contradictory pleasures of our 'selves'(77). (MS>

Newman, Amy. "Aestheticism, Feminism, and the Dynamics of Reversal." In Aesthetics in Feminist Perspective. Hilde Hein and Carolyn Korsmeyer eds. Bloomington: Indiana University Press, 1993.

...postmodern aestheticism's conception of the subjectivity of the artist, which assigns highest value to intensity and immediacy, allows even (or especially) the social psychopathology associated with victimization and brutalization to be interpreted as a variety of aesthetic experience. 200 (KP)

Ngai, Sianne. "Jealous Schoolgirls, Single White Females, and Other Bad Examples: Rethinking Gender and Envy." Camera Obscura 16.2 (2001). [Project Muse]

What is most surprising and interesting about Single White Female with respect to how we approach aggressive conflict within feminism today is how it depicts female compoundedness as actively fostered through these disidentificatory and antiproprietary practices. (MS)

Nguyen, Mimi. "Punk Planet 33." Worse Than Queer. November 1999.

Those battery-operated vibrators aren't manufactured by other First World, savvy urban (white) women. (MS)

Nguyen, Mimi. "Punk Planet 34." Worse Than Queer. November 1999.

Or as the punks used to say (if never about themselves), some of us are more equal than others. (MS)

Nguyen, Mimi. "Viet Nam: Journal/Journey." Soapbox Girls. (October 2000).

Did I say this yet? I am trying to establish the contradictory conditions under which I have had to come to terms with my history and politics, since you won't. (MS)

Petro, Patrice. Aftershocks of the New: Feminism and Film History. New Brunswick:Rutgers University Press, 2002.

Plakhov, Andrei. "Trying Times: Women Directors in the Asian Republic." Cinemaya, 27, 95.

Pohlman, Livia. "FILM REVIEWS - "The Unauthorized Biography of America's 11-1/2 Sweetheart" by Women Make Movies".Teaching Sociology. 27, no. 3, (1999)

Redding, Judith M. and Brownworth, Victoria A. Film Fatales:Independent Women Directors. Seattle : Seal Press, 1997.

Reynaud, Berenice. "Trinh {T}. Minh-ha: At the Edge".Cinemaya, 25-26, 94/95.

Reynaud, Berenice; Clark, Paul: Teo,Stephen "Chronicles of Chinese Life." Cinemaya. 25-26, 94/95.

Rich, Ruby. Chick Flicks : Theories and Memories of the Feminist Film Movement. Durham: Duke University Press, 1998.

Robertson, Jennifer. "Dying to Tell: Sexuality and Suicide in Imperial Japan." Queer Diasporas. Ed. Cindy Patton and Benigno Sánchez-Eppler. Durham: Duke University Press, 2000. 38-70. (MS)

Robinson, Hilary (ed.). Visibly Female, London: Camden Press, 1985.

Saco, Diane. "Feminist Film Criticism: The Piano and 'the Female Gaze' Minnesota Humanities Commission's Teacher Institute: Chaska, MN, November 1994.

Schroeder, Erin. "A Multicultural Conversation: La Haine, Raï, and Menace II Society." Camera Obscura 16.1 (2001). [Project Muse]

Banlieue [industrial suburbs] popular culture, especially film, bears witness to the complexity of contemporary identities....In [Stuart] Hall's vocabulary, a range of particular struggles becomes visible in the representation of police violence, youth cultures, generational negotiations, a changing working class, and the hierarchies and policing of urban space and resources. These broader issues are read through the multiple spaces of banlieue, and cannot be herded together under a generalized concern with the articulation of racial and ethnic identities, or understood as a response only to lived experiences of racism, even though these films work to make visible the daily context of French residents of non-European origin. The visibility these films afford becomes significant not because they project the space of banlieue cultures for the pleasure of either affirming an identity or arguing against the oppressive apparatuses of its recognition, but because of the way these films are situated in a complex terrain of popular culture that generates its own conversations, both locally and in an international context. (MS)

Sen, Krishna, "Women Directors but Whose Films?" Cinemaya. 25-26, 94/95.

Sloan, William. "Trends In The American Documentary:Where the Independents Have Come From and Are Going"

Sobchack, Vivian. "Phenomenology and the Film Experience." In Viewing Positions: Ways of Seeing Film. Linda Williams ed. New Brunswick: Rutgers University Press, 1995.

Smelik, Anneke M. And the Mirror Cracked: Feminist Cinema and Film Theory. New York: St. Martin’s Press, Inc. 1998.

Feminist filmmakers represent the signs and significations of ‘woman’ and of ‘femininity’ differently from the codes and conventions of dominant cinema, while they still employ and deploy (rather than deconstruct) visual and narrative pleasure. (NG)

Smelik, Anneke M. Feminist Film Theory in Pam Cook and Mieke Bernink, (eds), The Cinema Book, second edition. London: British Film Institute, 1999, pp 353-365.

Smyth, Cherry. Damn Fine Art by New Lesbian Artists, New York: Cassel. 1996.

Stacey, Jackie; Franklin, Sarah; and Lury,Celia. Global Nature Global Culture: Gender, ‘Race’ and Life Itself in the Late Twentieth Century London: Sage Publications. 2000.

Stam, Robert. Film Theory: An Introduction. Malden, MA: Blackwell Publishers, 2000.

Stam, Robert. "Palimpsestic Aesthetics: A Meditation on Hybridity and Garbage." Performing Hybridity. Ed. May Joseph and Jennifer Natalya Fink. Minneapolis: University of Minnesota Press, 1999. 59-78.

What interests me especially here is a kind of matching between representations of the palimpsestic, multination state and the cinema as a palimpsestic and polyvalent medium that can stage and perform a transgressive hybridity (66).

Straayer, Chris. "Femme Fatale or Lesbian Femme: Bound in Sexual Différence." Women in Film Noir. Ed. E. Ann Kaplan. London: British Film Institute, 1998. 151-163.

Bound combines the classic femme fatale's predilection for gender disobedience with neo-noir's orgasmic female sexuality and then locates an equally evolved masculinity in the lesbian butch. 159. (MS)

Straayer, Chris. "The Public Private: Negotiating Subjectivity." Deviant Eyes, Deviant Bodies: Sexual Re-Orientations in Film and Video. New York: Columbia University Press, 1996. 160-183.

'Straightness' is an ideal that excludes fat people, mentally and physically disabled people, non-'white' people, poor people, older people, homeless and otherwise 'unconnected' people, and many others (180). (MS)

Straayer, Chris. "The She-Man: Postmodern Bi-Sexed Performance in Film and Video." Classical Hollywood Narrative: The Paradigm Wars. Ed. Jane Gaines. Durham: Duke University Press, 1992. 203-226.

The transgressive figure of the She-man is glaringly bi-sexed rather than obscurely androgynous or merely bisexual. Rather than undergoing a downward gender mobility, he has enlarged himself with feminine gender and female sexuality (204). (MS)

Sum, Ngai-Ling. "A Possible Research Agenda for Feminist Politics/Movements Across Time and Space." Transformations: Thinking Through Feminism. Ed. Sara Ahmed et al. London: Routledge, 2000. 131-144.

Thornham, Sue, ed. Feminist Film Theory: A Reader, New York: New York University Press, 1999.

Thornham, Sue. Passionate Detachments:an Introduction to Feminist Film Theory. London ; New York : Arnold. 1997.

Tolentino, Roland B. "Transvestites and Transgressions: Panggagaya in Philippine Gay Cinema." Queer Asian Cinema: Shadows in the Shade. Ed. Andrew Grossman. Binghamton: Harrington Park Press [Haworth], 2000. 325-337.

I read panggagaya [mimicry] as performed in transvesticism as an alternative to the pedagogical or historical construction of bodies and sexualities during the Marcos era (325).(MS)

Vidmar, Ksenija. "Interview with Laura Mulvey." Ekran, 19, 94.

Wadia, Riyad Vinci. "Long Life of a Short Film." Queer Asian Cinema: Shadows in the Shade. Ed. Andrew Grossman. Binghamton: Harrington Park Press [Haworth], 2000. 313-323.

The more I traveled internationally, the more I came out to straight friends in India, and the more I realized that I had a story that needed to be told cinematically…that needed to be addressed publicly, now that I had addressed it personally. 315-6.(MS)

Waldman, Diane and Walker, Janet, eds. Feminism and Documentary . Minneapolis : University of Minnesota Press. 1999.

Walker, John A. and Chaplin Sarah, Visual Culture: An Introduction. Manchester: Manchester University Press. 1997.

Watson, Julia. "Unspeakable Differences: The Politics of Gender in Lesbian and Heterosexual Women's Autobiographies." Women, Autobiography, Theory: A Reader. Ed. Sidonie Smith and Julia Watson. Madison: University of Wisconsin Press, 1998. 393-402.

Displacing the rhetoric of binary and polarized sexual orientations in autobiography and understanding that as a strategy that keeps attempting to, in Hong Kingston's phrase, 'name the unspeakable' may open up that dissonance [of sexual identity]. (400)(MS)

White, Patricia. "Female Spectator, Lesbian Spectre: The Haunting." Women in Film Noir. Ed. E. Ann Kaplan. London: British Film Institute, 1998. 130-150.

In this essay I attempt to trace the ghostly presence of lesbianism in classical Hollywood cinema on the one hand, and in feminist film theory on the other, through the reading of two texts in which a defense against homosexuality can be detected (130). (MS)

White, Patricia. Uninvited : Classical Hollywood Cinema and Lesbian Representability. Bloomington: Indiana University Press, 1999.

Williams, Linda. “‘Something Else Besides a Mother’: Stella Dallas and the Maternal Melodrama." Cinema Journal, vol. 24, no. 1, Fall 1984. 2-27.

Williams focuses on King Vidor’s [Hollywood narrative film,] Stella Dallas (1937), and uses her analysis to consider female subjectivity and spectatorship. She asks, “What happens when a mother and daughter, who are so closely identified that the usual distinctions between subject and object do not apply, take one another as their primary objects of desire?. . . What happens . . . when the significant viewer of such a drama is also a woman?” (5) Williams uses feminist film theory and contemporary psychoanalytic thought to delve into these questions about the maternal melodrama. This is an important work concerning mother/daughter relationships in the cinema. (CH)

• Charlotte Hoffman (CH)
• Nora Gully (NG)
• Kaeti Humphrey (KH)
• Marianna Martin (MM)
• Kim Peters (KP)
• Michelle Strizever (MS)