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Postscript

Sue Thornham

Sue Thornham is Professor of Media and Film at the University of Sussex, UK. She is the author of numerous books including Women, Feminism and Media (2007), What if I Had Been the Hero (BFI Publishing 2012); the co-author, with Tony Purvis, of Television Drama: Theories and Identities (2005); the editor of Feminist Film Theory: A Reader (1999), and the co-editor, with Caroline Bassett and Paul Marris, of Media Studies: A Reader (3rd edition 2009). Author affiliation details are correct at time of print publication.

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What If I Had Been the Hero? : Investigating Women’s Cinema

British Film Institute, 2012

Book chapter

...My grand-daughter, who is two years old, frequently fantasises inhabiting other identities. ‘Today I’m a cat,’ she will say, or ‘I’m a penguin and my name is Henry.’ The identities are taken, inevitably, from her favourite books and films...

Mapping the Roads Not Taken

Catherine Constable

Catherine Constable is Senior Lecturer in Film Studies at Sheffield Hallam University, UK. Author affiliation details are correct at time of print publication.

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Thinking in Images : Film Theory, Feminist Philosophy and Marlene Dietrich

British Film Institute, 2005

Book chapter

...In Chapter 3 I indicated those elements of Sacher-Masoch’s reworking of the figure of Galatea that are not crystallised into the theory of masochism offered by Studlar. Galatea’s capacity to become a Venus of stone can be read as a means...

Exit

Rikke Schubart

Rikke Schubart is Associate Professor in Media Studies at the Institute for the Study of Culture, University of Southern Denmark in Odense, Denmark. Her research focuses on gender, genre, and emotions in cinema and media. Schubart’s publications include Bloomsbury’s recent Women of Ice and Fire: Gender, Game of Thrones and Multiple Media Engagements (2016, co-edited with Anne Gjelsvik), Eastwood’s Iwo Jima: A Critical Engagement with Flags of Our Fathers and Letters from Iwo Jima (2013, co-edited with Anne Gjelsvik), and Super Bitches and Action Babes: The Female Hero in Popular Cinema, 1970–2006 (2007). Author affiliation details are correct at time of print publication.

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Mastering Fear : Women, Emotions, and Contemporary Horror

Bloomsbury Academic, 2018

Book chapter

...The aim with Mastering Fear has been to explore horror as edgework and show how it can be a play experience. Horror is not nice princess play. It can be upsetting, revolting, disgusting, and traumatizing, and this is the value of entering...

Woman as Caprice

Catherine Constable

Catherine Constable is Senior Lecturer in Film Studies at Sheffield Hallam University, UK. Author affiliation details are correct at time of print publication.

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Thinking in Images : Film Theory, Feminist Philosophy and Marlene Dietrich

British Film Institute, 2005

Book chapter

...The first section of this chapter will examine Mary-Ann Doane’s take-up of Nietzsche and Derrida in order to analyse the gendered nature of cinematic representation.M-A Doane, Femmes Fatales: Feminism, Film Theory, Psychoanalysis (New York...

Conclusion

Sue Thornham

Sue Thornham is Professor of Media and Film at the University of Sussex, UK. She is the author of numerous books including Women, Feminism and Media (2007), What if I Had Been the Hero (BFI Publishing 2012); the co-author, with Tony Purvis, of Television Drama: Theories and Identities (2005); the editor of Feminist Film Theory: A Reader (1999), and the co-editor, with Caroline Bassett and Paul Marris, of Media Studies: A Reader (3rd edition 2009). Author affiliation details are correct at time of print publication.

Search for publications

What If I Had Been the Hero? : Investigating Women’s Cinema

British Film Institute, 2012

Book chapter

...I am indebted for the title of this Conclusion, and indeed for the conclusion itself, to the anonymous reviewer who insisted that this book needed more than the postscript I had given it. She – or perhaps he – also perceptively pointed...

The Mirror of Woman

Catherine Constable

Catherine Constable is Senior Lecturer in Film Studies at Sheffield Hallam University, UK. Author affiliation details are correct at time of print publication.

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Thinking in Images : Film Theory, Feminist Philosophy and Marlene Dietrich

British Film Institute, 2005

Book chapter

...This chapter will examine the work of Michèle Le Doeuff and Luce Irigaray in order to draw out their specific conceptions of theory and theorising. I have chosen to combine Le Doeuff and Irigaray because their different analyses...

Resistance Through Charisma: Rita Hayworth and Gilda

Women in Film Noir

British Film Institute, 1978

Book chapter

...The argument of this article is that in Gilda it is possible to read the generic construction of Gilda as femme fatale as being in some measure overturned and exposed, partly by certain features of mise en scѐne, partly by the casting...

Postscript: Queers and Women in Film Noir

Women in Film Noir

British Film Institute, 1978

Book chapter

...Gilda seems unusual among films noirs for having as its hero an ordinary guy who also has a homosexual relationship. The ordinariness of the film noir hero does not consist of the unspectacular decency most usually constructed by Hollywood...

Double Indemnity

Women in Film Noir

British Film Institute, 1978

Book chapter

...Double Indemnity, based on James M. Cain’s roman noir of the same title, is the story of an insurance agent, Walter Neff, who plots with Phyllis Dietrichson to kill her husband by making it appear that he died falling from a moving train...
Image
...The main action of this film takes place in 1932 - THE PAST, and 1937/8 - THE PRESENT. In 1932 Imogen is thirty-nine, Helen forty-three and Otto thirty-five. Springfield House. Summer. Early Evening. Long Shot. Past. The camera looks...