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  3. Chick flicks: theories and memories of the feminist film movement

Chick flicks: theories and memories of the feminist film movement

B. Ruby Rich
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  • Contents

  • Reviews

  • Frontmatter
  • Acknowledgments (page xi)
  • Preface: Jews without Books (page xv)
  • Introduction (page 1)
  • Prologue. I Found It at the Movies (page 7)
  • 1. Film in the Sixties (page 13)
  • Prologue. Hippie Chick in the Art World (page 19)
  • 2. Carolee Schneemann's Fuses (page 27)
  • Prologue. Angst and Joy on the Women's Film Festival Circuit (page 29)
  • 3. Leni Riefenstahl: The Deceptive Myth (page 40)
  • Prologue. Life, Death, and Tragic Homecoming (page 48)
  • 4. Voodoo Verité: Maya Deren's Divine Horsemen (page 52)
  • Prologue. An Iguana, Some Wolves, and the Dawn of Theory (page 57)
  • 5. In the Name of Feminist Film Criticism (page 62)
  • Prologue. O Brave New World (page 85)
  • 6. One Way or Another: Sara Gomez and the Cuban Experience (page 92)
  • Prologue. A Woman's Declaration of Secession from the Avant-Garde (page 103)
  • 7. Sex and Cinema (page 109)
  • Prologue. Love's Labor Lost (page 116)
  • 8. Misconception: Laboring under No Illusions (page 121)
  • Prologue. Cows and Hero-Worship (page 125)
  • 9. The Films of Yvonne Rainer (page 129)
  • Prologue. Knokke-Heist and the Fury That Was Edinburgh (page 156)
  • 10. Designing Desire: Chantal Akerman (page 169)
  • Prologue. Euphoria Reclaims History (page 174)
  • 11. From Repressive Tolerance to Erotic Liberation: Maedchen in Uniform (page 179)
  • Prologue. Softball, the Goddess, and Lesbian Film Culture (page 207)
  • 12. The Right of Re-Vision: Michelle Citron's Daughter Rite (Linda Williams, coauthor, page 212)
  • Prologue. The Allure of Alchemy (page 220)
  • 13. Femicide Investigation: Thriller (page 227)
  • Prologue. Sour Grapes (page 233)
  • 14. She Says, He Says: The Power of the Narrator in Modernist Film Politics (page 238)
  • Prologue. Sex, Gender, and Consumer Culture (page 253)
  • 15. Antiporn: Soft Issue, Hard World (Not a Love Story) (page 261)
  • Prologue. Unguided Tours (page 274)
  • 16. The Feminist Avant-Garde (page 281)
  • Prologue. Attacking the Sisters, or the Limits of Disagreement (page 286)
  • 17. Cinefeminism and Its Discontents (page 291)
  • Prologue. Libel Threats and Exile Tactics (page 299)
  • 18. Truth, Faith, and the Individual: Thoughts on U.S. Documentary Film Practice (page 305)
  • Prologue. Disempowerment and the Politics of Rage (page 315)
  • 19. Lady Killers: A Question of Silence (page 319)
  • Prologue. Film Star as Outstanding Human Being (page 326)
  • 20. Julie Christie Goes to Washington (page 329)
  • Prologue. Blaming the Victim (page 337)
  • 21. Good Girls, Bad Girls: Joyce Chopra's Smooth Talk (page 344)
  • Prologue. The Berks and the Sex Wars (page 347)
  • 22. Feminism and Sexuality in the Eighties (page 350)
  • Epilogue: Charting the Eighties (page 376)
  • Notes (page 391)
  • Index (page 409)
Reviews
Journal AbbreviationLabelURL
WRB 16.4 (Jan. 1999): 16-17 http://www.jstor.org/stable/4023110
FQ 53.4 (Summer 2000): 69 http://www.jstor.org/stable/1213765
FS 27.1 (Spring 2001): 159-166 http://www.jstor.org/stable/3178455
Citable Link
Published: 1998
Publisher: Duke University Press
ISBN(s)
  • 9780822321064 (hardcover)
  • 9780822377580 (ebook)
  • 9780822321217 (paper)
Subject
  • Film & Media Studies
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