Abstract
This chapter provides a brief historical survey of conceptions of film authorship and genre with relevance to Harrod’s understanding of films analysed in the book, that is, notably as they intersect with questions of gender. It discusses the imbrication of genre and pastiche with the culturally feminised sphere of emotion. As well as drawing on the work of Torben Grodal and Richard Dyer, it dialogues with more recent scholarship in (queer) affect and embodiment studies, in order to refute certain gendered potential misconceptions about how genre films engage us that arise within or alongside these fields. These arguments comprise the basis of a framework for understanding recent work by women genre filmmakers through (popular) cinephilia and especially a form of heightened genericity that relies centrally on a particular mode of audience address.
Production and reception are truly interrelated: a re-vision of auteurism can only be performed through an act of re-reading.
—Christina Lane, Feminist Hollywood
This is a preview of subscription content, log in via an institution to check access.
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
Notes
- 1.
Other prominent examples proscribing the mainstream for feminist (and other anti-establishment) filmmakers include the work of Stephen Heath, Mary Ann Doane and, earlier in her career, Claire Johnston (see Garrett 2007: 27); see also Harrod and Paszkiewicz (2017: 1, 7) on the attendant privileging of the avant-garde by feminist film scholars.
- 2.
Paszkiewicz’s decision to organise her study around a handful of key films from all different genres in fact arguably underscores difference more heavily than sameness, at least within the book itself. While she consistently and persuasively rejects discourses of exceptionalism undergirding traditional auteurism, the present approach of grouping films within sections corresponding to (broad) generic tendencies aims to enact the same ethics of inclusion and relationality promoted—so my argument—by its objects of analysis. It also simply facilitates discussing echoes and repetitions within genres.
- 3.
- 4.
- 5.
Corrigan uses the phrase ‘the business of being an auteur’ but I find it unhelpful in a situation where the term auteur’s remit has hugely widened, arguably so as to simply indicate a culturally visible film author.
- 6.
It is also thought that the second part of the word may come originally from roots meaning ‘to spread abroad’ and/or ‘to traffic in or sell’, which resonate equally strongly with concepts of generic narrative, especially in film. See http://www.etymonline.com/index.php?term=interpret.
- 7.
Deleyto (2009: 2–3) brilliantly applies the critique of circularity to romantic comedy criticism.
- 8.
- 9.
See, for instance, the current ‘Retrospective Serialization’ research project at the Freie Universität Berlin; Perkins and Verevis (2012).
- 10.
- 11.
- 12.
Although Smith tends to treat style as independent of narrative.
- 13.
A related problem concerns the fact that according to Grodal, in genre creation: ‘The more we strengthen the schematic relations between a given situation and possible future situations, and the more we limit the options [or overdetermine them], the more we increase the activation of tense or saturated experience [emotional engagement by the viewer]—up to a point’ (1999: 222, my emphasis).
- 14.
On affect, see, for example, Pawel Prokopic’s ‘Affective Cinema’ project, which situates ‘affective significance’ as ‘outside of language, knowledge and (inter-subjective) communication’ and ties it to a ‘contingent manifestation of reality’. http://www.pavelprokopic.com/affectivesigns.html. For more recent examples of scholarship coloured by formalism, see Keating (2006), Smith (2007), who notably build on the work of Bordwell and Noël Carroll.
- 15.
Martin Barker (2006: 126) makes the same point that ‘audience responses are always emotionally charged understandings and educated emotions. That is to say, there is no way of separating out the cognitive and the emotional responses, regarding these as separately shaped or driven’ (original emphasis).
- 16.
Blackman’s extrapolation from Leys points to a cavalier slippage here between a speculative philosophical notion of unconscious collective knowledge and the experience of lived bodies.
- 17.
Around the same time, even more strikingly, highly regarded cognitive behavioural psychologist Mihaly Csikszentmihályi (1990) modelled a theory of how mental absorption itself affords pleasure.
- 18.
Claire Hemmings (2005: 264) suggests Massumi’s arguments on this point are moreover based on a misreading of Deleuze’s theories.
- 19.
- 20.
- 21.
- 22.
For examples, see Harrod (2016a: 70, footnote 15), following Garrett.
- 23.
For instance, Sobchack’s (2004: 61–66) analysis of The Piano . I have noted elsewhere, following Jermyn, that in 2014 Potter had been the subject of two monographs and Campion seven (and the Belgian avant-garde director Chantal Akerman four) (Harrod and Paszkiewicz 2017: 18). Since then a call for contributions to a collection on her for Edinburgh University Press’ ‘ReFocus’ series has been circulated, while Kate Ince’s 2017 award-winning study of The Body and the Screen in films by Claire Denis, Agnès Varda, Catherine Breillat, Lynne Ramsey and Andrea Arnold develops transnationally the trend for feminist film criticism focusing significantly on the body. Lucy Bolton’s earlier (2011) work extended a comparable approach to Coppola’s work, alongside Potter’s and Ramsey’s.
- 24.
My translation from the French audiobook D’après une histoire vraie, Chapter 51.
- 25.
This is uncannily close to the definition of ‘affective signification’ offered by Prokopic cited in an earlier note and at: http://www.pavelprokopic.com/affectivesigns.html.
- 26.
These notions also underline the distance of the texts I will analyse from Tasker and Negra’s condemnation of reflexivity as potentially conservative in some female-oriented genres (Tasker and Negra 2007: 15).
- 27.
Audience, in this study, conflates the notions of spectator and viewer, implying both subjectivity and social identity.
- 28.
Cf. Feminist scholar Cowie’s earlier (1997: 26) observation that cinema always comprises ‘an utterance or enunciation, an organised presentation of reality which presupposes an intelligibility of the utterance; it is organized for understanding’.
- 29.
- 30.
- 31.
Such a description of genre films as reanimating past forms echoes scholarly discussions of prosopopoeic figures’ functioning as vessels of Derridean hauntology, which has in turn been linked to recuperating marginalised (colonial) subjects’ experience (Sheratt-Bado 2014: 100).
- 32.
For Vicki Callahan, ‘the author is not so much dead as dispersed across an array of subject positions and sites of production/consumption.’
- 33.
Needless to say, the women directors examined here are also embodied and it is very probable that their desire to create sensations in viewers is born out of their own similar experiences; however, this study is more interested in mass effects/affects than intentionality per se, without mentioning the challenges involved in measuring the latter, or the fidelity of results to intentions.
- 34.
The same applies to the cognate work of Elena del Rio in film affect studies.
- 35.
As I explore further shortly, Tarja Laine’s (2013: 1) approach is theoretically closer to mine in seeing affect and cognition as ‘inextricably intertwined’ in film viewing; however, in practice she still describes affect as operating through an ‘unthinking’ body.
- 36.
- 37.
Gledhill notes, suggestively for my purposes, that an overemphasis on history is particularly inapt for melodrama as the woman’s film par excellence, since it is a form founded on plagiarism. She critiques, too, the risks that such approaches pose of returning genre scholars to the taxonomic trap. However, other scholars have an opposed view of Altman’s contribution to genre studies, with Lane (2000: 51) likening his work to Modleski’s and Mayne’s precisely on the basis of foregrounding textual multivocality.
- 38.
‘The Happiness Half Hour’, BBC Radio 4, 3 November 2020. BBC Radio Bristol—The Happiness Half Hour, 7. People like you more than you realise.
- 39.
This and all subsequent references to Powers (2017) are to the Kindle edition.
- 40.
- 41.
Cf. Research into the role of autofiction in reconstructing obliviated historical (post-)memories in post-war and post-dictatorship Latin America by Mauricio Tossi and Ana Casas drawn on earlier in this section.
- 42.
De Lauretis looks forward to such a perspective, however, when she argues that ‘sexual difference’ is a limiting category and that a heterogeneous address reflecting ‘differences among women’ is required for (cinematic) ‘revision’, or seeing with fresh eyes, as, in Adrienne Rich’s words, ‘an act of survival’ (de Lauretis 1988: 185). Such ideas help to explain why for many, as the title of Mimi Marinucci’s book has it, feminism is queer (Bradbury-Rance 2019: 176).
- 43.
Sound is rarely considered in Galt’s book, although she notes that a decorative style can be defined by ‘an orchestrated system of sound, music, and image design’ (2011: 13).
- 44.
Sound in (mainstream) narrative cinema must also conform to relatively predictable patterns to avoid simply confusing us. These arguments do not contradict Christian Metz’s (1974: 92–107) observation that paradigmatic choices in cinema are unlimited (in a way that is not true of verbal language) in the absolute.
- 45.
As for Deleuze’s work on cinematic affects, there is much of use in his suggestion that films can produce sense not only at the narrative level but also through impersonal, auto-poietic processes that lend virtual intensities resonance (1990: 19, 187). His account of ‘automatic’ thinking seems to hint at the combination of rational and unconscious thought structuring my description of viewer engagement with genre, ‘arous[ing] the thinker in you’ (1989: 156) without limitation to representational aspects of the film: giving reason a passion through the power of cinema. Where I part company with Deleuze is in thinking that such processes are entirely divorced from representational aspects of film or that they require the kinds of anti-mainstream grammar he gathers under the rubric of the ‘time-image’ in order to be engaged.
- 46.
Although Berlant does note her desire in closing her Introduction for further research into how ‘attachments make worlds and world-changing fantasies’ (1998: 8), one slight difference in emphasis between the two thinkers’ complementary work seems to be a greater emphasis in Berlant on how feelings are structurally dictated while Ahmed looks more often to how feelings might alter social structures. For further comparison between the two bodies of thought, see Berlant (2011: 13–15).
- 47.
Gledhill is elsewhere explicit about the need for feminist readings to look beyond texts’ ‘progressiveness’ (1994: 121).
- 48.
Cinephilia’s affective qualities have led to it being explicitly associated with prosthetic memory with varying degrees of explicitness (see, for instance, Faulkner [2015], Harrod [2016b]). More generally, cultural theory has not always seen audiovisual media’s propensity to elicit nostalgia in a positive light, with Fredric Jameson famously attacking American Graffiti on these grounds in a critique taken up more recently by, among others, Ryan Lizardi’s scathing analysis of contemporary Mediated Nostalgia as promoting widespread narcissism and a failure of true historical consciousness (2015: 17–19).
Works Cited
Ahmed, Sara (2004), The Cultural Politics of Emotion, Edinburgh: Edinburgh University Press.
Altman, Rick (1999), Film/Genre, London: BFI.
Ang, Ien (1985), Watching Dallas: Soap Opera and the Melodramatic Imagination, London: Methuen.
Aumont, Jacques (1997), The Image, trans. Claire Pajackowska, London: BFI.
Baillargeon, Mercédès (2014), ‘Esthétique et politique dans l’autofiction des femmes contemporaines,’ PhD Thesis, University of North Carolina at Chapel Hill.
Banet-Weiser, Sarah (2016), ‘Popular Misogyny: The Pick-Up Artists and Men’s Rights Activism,’ Paper delivered at Society for Cinema and Media Studies 2016 Conference, Atlanta, 30 March–3 April.
Barker, Jennifer (2009), The Tactile Eye: Touch and the Cinematic Experience, London, Berkeley and Los Angeles: University of California Press.
Barker, Martin (2006), ‘I Have Seen the Future and It Is Not Here Yet…; or, On Being Ambitious for Audience Research,’ The Communication Review 9 (2): 123–141.
Barrett, Lisa Feldman (2017), How Emotions are Made: the Secret Life of the Brain, London: Pan Macmillan.
Barthes, Roland (1977), ‘The Death of the Author,’ in Image, Music, Text, trans. Stephen Heath, New York: Hill and Wang.
Beauchamp, Cari (1998), Without Lying Down: Frances Marion and the Powerful Women of Early Hollywood, Oakland, University of California Press.
Benveniste, Émile (1971), Problems in General Linguistics, Miami: University of Miami Press.
Berlant, Lauren (1998), ‘Intimacy: A Special Issue,’ in Berlant (ed.), Intimacy, Chicago and London: University of Chicago Press, pp. 1–8.
Berlant, Lauren (2008), The Female Complaint: the Unfinished Business of Sentimentality in American Culture, Durham: Duke University Press.
Berlant, Lauren (2011), Cruel Optimism, Durham. Duke University Press.
Blackman, Lisa (2012) Immaterial Bodies: Affect, Embodiment, Mediation, London: Sage.
Bloom, Harold (1997), The Anxiety of Influence, Oxford: Oxford University Press.
Bolton, Lucy (2011), Film and Female Consciousness: Irigaray, Cinema and Thinking Women, Basingstoke: Palgrave.
Bordo, Susan 2003 [1993]), Unbearable Weight: Feminism, Western Culture, and the Body, Berkeley; London: University of California Press.
Bordwell, David (1979), ‘The Art Cinema as a Mode of Film Practice,’ Film Criticism 4 (1) (Fall 1979): 56–64.
Bordwell, David (2006), The Way Hollywood Tells It: Story and Style in Modern Movies, Berkeley, CA: University of California Press.
Bovenschen, Silvia (1977), ‘Is There a Feminine Aesthetic?’, New German Critique 10 (Winter): 111–137.
Bradbury-Rance, Clara (2019), Lesbian Cinema after Queer Theory, Edinburgh: Edinburgh University Press.
Brinkema, Eugenie (2014), The Forms of the Affects, Durham: Duke University Press.
Butler, Judith (2004), Undoing Gender, London and New York: Routledge.
Caine, Renata and Geoffrey (1991), Making Connections: Teaching and the Human Brain. Menasha, Wisconsin: Banta.
Callahan, Vicki (2010), ‘Rewriting Authorship,’ in Callahan (ed.), Reclaiming the Archive: Feminism and Film History, Detroit: Wayne State University Press, pp. 127–130.
Casas, Ana (2018), ‘Guerra Civil y posmemoria de los “nietos”: la autoficción come discurso crítico,’ Paper delivered at IV Congreso Internacional Los Textos del Cuerpo: Autorías Encarnadas: Representaciones intermediáticas y sexuadas de la creación cultural, Universitat Autònoma de Barcelona, 16–20 April.
Clover, Carol J. (1992), Men, Women and Chain Saws: Gender in the Modern Horror Film, London: BFI.
Cobb, Shelley (2015), Adaptation, Authorship, and Contemporary Women Filmmakers, London: Palgrave Macmillan.
Colling, Samantha (2017), The Aesthetic Pleasures of Girl Teen Film, New York and London: Bloomsbury.
Connolly, William E. (2002), Neuropolitics: Thinking, Culture, Speed, Minneapolis: University of Minnesota Press.
Cook, Pam (2012), ‘No Fixed Address: The Women’s Picture from Outrage to Blue Steel,’ in Christine Gledhill (ed.), Genre Meets Gender in Postwar Cinemas, Urbana: University of Illinois Press, pp. 29–40.
Coppa, Francesca (2017), ‘A Hollywood of Our Own: Media Fandom as Female Artworld,’ in Mary Harrod and Katarzyna Paszkiewicz (eds), Women Do Genre in Film and Television, London and New York: Routledge, pp. 213–130.
Corrigan, Timothy (1990), ‘The Commerce of Auteurism: A Voice without Authority,’ New German Critique 49 (Winter), Special Issue on Alexander Kluge: 43–57.
Cowie, Elizabeth (1997), Representing the Woman: Cinema and Psychoanalysis, Minneapolis, University of Minnesota Press.
Creed, Barbara (1986), ‘Horror and the Monstrous Feminine: An Imaginary Abjection,’ 27 (1) (January/February): 44–71.
Csikszentmihályi, Mihaly (1990), Flow: The Psychology of Optimal Experience. New York: Harper and Row.
de Lauretis, Teresa (1988), ‘Aesthetics and Feminist Theory: Rethinking Women’s Cinema,’ in E. Deidre Pribram (ed.), Female Spectators: Looking at Film and Television, London and New York: Verso, pp. 174–195.
Deleuze, Gilles (1989), Cinema 2: The Time – Image, London: The Athlone Press.
Deleuze, Gilles (1990), Logic of Sense, New York: Columbia University Press.
Deleyto, Celestino (2009), The Secret Life of Romantic Comedy, Manchester: Manchester University Press.
Deniway, Göksal Balsak (2014), ‘Authorship in Cinema: Author and Reader,’ Cinej Cinema Journal 4 (1). Online.
Derrida, Jacques (1980), ‘The Law of Genre,’ trans. Avital Ronnell, Critical Inquiry 7 (1) (Autumn): 55–81.
Derrida, Jacques (1988), ‘Signature Event Context,’ in Limited Inc, trans. Samuel Weber and Jeffrey Mehlman, Evanston: Northwestern University Press.
Doane, Mary Ann (1987), The Desire to Desire: the Woman’s Film of the 1940s, Bloomington, Indiana University Press.
Dwyer, Rachel (2016), ‘Mumbai Middlebrow: Ways of Thinking About the Middle Ground in Hindi Cinema,’ in Sally Faulkner (ed.), Middlebrow Cinema, London and New York: Routledge.
Dyer, Richard (2007), Pastiche, London and New York: Routledge.
Elsaesser, Thomas (2005), ‘Cinephilia or the Uses of Disenchantment,’ in Marijke de Valcke and Malte Hagener (eds), Cinephilia: Movies, Love and Memory, Amsterdam: Amsterdam University Press, pp. 27–43.
Fairfax, Daniel (2017), ‘Questions of montage and filmic space in L’Amour fou and Out 1 by Jacques Rivette,’ Studies in French Cinema 17 (2): 182–197.
Faulkner, Sally (2015), ‘Cinephilia and the Unrepresentable in Miguel Gomes’ Tabu (2012),’ Bulletin of Spanish Studies 92 (3): 341–360.
Fischer, Clara (2016), ‘Feminist Philosophy, Pragmatism, and the “Turn to Affect”: A Genealogical Critique,’ Hypatia 31 (4) (Fall): 810–826.
Fischer, Lucy (1989), Shot/Countershot: Film Tradition and Women’s Cinema, Princeton, NJ: Princeton University Press.
Foucault, Michel (1969), ‘Qu’est-ce qu’un auteur?,’ Bulletin de la Société Française de Philosophie, vol. LXIV (3): 73–104.
Francke, Lizzie (1994), Script Girls: Women Screenwriters in Hollywood, London: BFI.
Freeland, Cynthia A. (1996), ‘Feminist Frameworks for Horror Films,’ in Noël Carroll and David Bordwell (eds), Post-Theory: Reconstructing Film Studies, University of Wisconsin Press, pp. 195–218.
Freeman, Elizabeth (2010), Time Binds: Queer Temporalities, Queer Histories, Durham: Duke University Press.
Frome, Jonathan (2006), ‘Representation, Reality, and Emotions Across Media,’ Film Studies 8 (Summer): 12–25.
Frueh, Joanna (1996), Erotic Faculties, Berkeley, University of California Press.
Frye, Northrop (1957), An Anatomy of Criticism: Four Essays, Princeton: Princeton University Press.
Gaines, Jane (2012), ‘The Genius of Genre and the Ingenuity of Women,’ in Christine Gledhill (ed.), Gender Meets Genre in Postwar Cinemas, Chicago: University of Illinois Press, pp. 15–28.
Gallagher, Tag (1986), ‘Shoot-Out at the Genre Corral: Problems in the “Evolution” of the Western,’ in Barry Keith Grant (ed.), Film Genre Reader, Austin: University of Texas Press, pp. 202–216.
Galt, Rosalind, (2011), Pretty: Film and the Decorative Image, New York: Columbia University Press.
Garrett, Roberta (2007), Postmodern Chick-Flicks: The Return of the Woman’s Film, Basingstoke: Palgrave.
Gill, Rosalind (2005), ‘Postfeminist media culture: elements of a sensibility,’ European Journal of Cultural Studies 10 (2): 147–166.
Gledhill, Christine (1987), Home Is Where the Heart Is: Studies in Melodrama and the Woman’s Film, London: BFI.
Gledhill, Christine (1994), ‘Images and Voices: Approaches to Marxist Feminist Film Criticism,’ in Diane Carsonet, Linda Dittmar and Janice R. Welsch (eds), Multiple Voices in Feminist Film Criticism, Minneapolis: University of Minnesota Press, pp. 109–123.
Gledhill, Christine (2000), ‘Rethinking Genre,’ in Christine Gledhill and Linda Williams (eds), Reinventing Film Studies, London: Edward Arnold, pp. 221–243.
Gledhill, Christine (2017), ‘Preface,’ in Mary Harrod and Katarzyna Paskiewicz (eds), Women Do Genre in Film and Television, London and New York: Routledge, pp. ix–xiv.
Grant, Catherine (2001), ‘Secret Agents: Feminist Theories of Women’s Film Authorship,’ Feminist Theory 2 (1) (April): 113–130.
Grodal, Torben (1999), Moving Pictures: A New Theory of Film Genres, Feelings, and Cognition, Oxford: Oxford University Press. Ebook.
Guilluy, Alice (2021), Guilty Pleasures: European Audiences and Contemporary Hollywood Romantic Comedy, London: Bloomsbury.
Halberstam, Jack (2005), In a Queer Time and Place: Transgender Bodies, Subcultural Lives, New York: New York University Press.
Halbwachs, Maurice (1925), Les Cadres sociaux de la mémoire, Paris: Librairie de Félix Alcan.
Handyside, Fiona (2017), Sofia Coppola: A Cinema of Girlhood, London: I. B. Tauris.
Handyside, Fiona (2018), ‘Death and the Maidens: Speculating about Spectral Incognisance in Sofia Coppola’s Films,’ Keynote delivered at Sussex Contemporary Directors Symposium, University of Sussex, 16 May.
Haraway, Donna (1988), ‘Situated Knowledges: The Science Question in Feminism and the Privilege of Partial Perspective,’ Feminist Studies 14 (3) (Autumn): 575–599.
Harrod, Mary (2016a), ‘“As If a Girl’s Reach Should Exceed Her Grasp”: Gendering Genericity and Spectatorial Address in the Work of Amy Heckerling,’ in Frances Smith and Timothy Shary (eds), Refocus on the Films of Amy Heckerling, Edinburgh: Edinburgh University Press, pp. 53–72.
Harrod, Mary (2016b), ‘Cinephilia as Multilingualism in The Artist (Michel Hazanavicius, 2011) and Blancanieves (Pablo Berger, 2012),’ in Tijana Mamula and Lisa Patti (eds), The Multilingual Screen, London: Bloomsbury, pp. 69–89.
Harrod, Mary (2017), ‘The Myth of Lena Dunham,’ in Mary Harrod and Katarzyna Paszkiewicz (eds), Women Do Genre in Film and Television, London and New York: Routledge, pp. 179–197.
Harrod, Mary and Katarzyna Paszkiewicz (eds) (2017), Women Do Genre in Film and Television, London and New York: Routledge.
Helenish (2001), ‘The Same Inside,’ http://helenish.talkoncorners.net/samep.shtml.
Hemmings, Claire (2005), ‘Invoking Affect,’ Cultural Studies 9 (5): 548–567.
Hemmings, Claire (2012), ‘Affective Solidarity: Feminist Reflexivity and Political Transformation,’ Feminist Theory 13 (2): 147–161.
Hoffmann, Lukas (2015), ‘Fictionalized Fact and Factualized Fiction – David Foster Wallace’s “Octet”,’ Paper delivered at Fictionality, Factuality, Reflexivity Conference, University of Hamburg, 25–26 September 2015.
hooks, bell (1996), Reel to Real: Race, Sex, and Class at the Movies, New York: Routledge.
Johnston, Claire (2000), ‘Women’s Cinema as Counter Cinema,’ in E. Ann Kaplan (ed.), Feminism and Film, Oxford: Oxford University Press, pp. 22–33.
Hutcheon, Linda (1980), Narcissistic Narrative: the Metafictional Paradox, Waterloo, Ontario: Wilfred Laurier University Press.
Ince, Kate (2017), The Body and the Screen: Female Subjectivities in Contemporary Women’s Cinema, London: Bloomsbury.
Jenkins, Henry (2006), Fans, Bloggers, and Gamers: Exploring Participatory Culture, New York: New York University Press.
Jermyn, Deborah (2017), Nancy Meyers. London: Bloomsbury.
Kaveney, Roz (2006), Teen Dreams: Reading Teen films and Television from Heathers to Veronica Mars, London: I. B. Tauris.
Keathley, Christian (2005), Cinephilia and History, or the Wind in the Trees, Bloomington: Indiana University Press.
Keating, Patrick (2006), ‘Emotional Curves and Linear Narratives,’ The Velvet Light Trap 58 (Fall): 4–15.
Kuhn, Annette (2002), An Everyday Magic: Cinema and Cultural Memory, London and New York: I. B. Tauris.
Labanyi, Jo (2010), ‘Emotion, Affect, and Materiality,’ Journal of Spanish Cultural Studies 11 (3–4): 223–233.
Laine, Tarja (2013), Feeling Cinema: Emotional Dynamics in Film Studies, New York and London: Bloomsbury.
Lane, Christina (2000), Feminist Hollywood: From Born in Flames to Point Break, Detroit: Wayne State University Press.
Lanser, Susan S. (2011), ‘The Implied Author: An Agnostic Manifesto,’ Style 45 (1) (Spring): 153–160.
Lebovici, Élisabeth (2017), Ce que le SIDA m’a fait: art et activisme à la fin du XXe siècle, Zurich: JRP Ringier; Paris: La Maison Rouge.
Leese, Elizabeth (1976), Costume Design in the Movies: An Illustrated Guide to the Work of 157 Great Designers, New York: Frederick Ungar.
Leys, Ruth (2011), ‘The Turn to Affect: A Critique,’ Critical Inquiry 37 (3): 434–72.
Lizardi, Ryan (2015), Mediated Nostalgia: Individual Memory and Contemporary Mass Media. Lanham: Lexington Books.
Marks, Laura U. (2000), The Skin of the Film: Intercultural Cinema, Embodiment, and the Senses, Durham and London: Duke University Press.
Marks, Laura U. (2002), Touch: Sensuous Theory and Multisensory Media, Minneapolis: University of Minnesota Press.
Massumi, Brian (1987), ‘Notes on the Translation and Acknowledgements,’ in Gilles Deleuze and Felix Guattari (eds), A Thousand Plateaus, Minneapolis: University of Minnesota Press, pp. xvi–xix.
Mayer, Sophie (2015), Political Animals: the New Feminist Cinema, London: I. B. Tauris.
Mayne, Judith (1990), The Woman at the Keyhole: Feminism and Women’s Cinema, Bloomington and Indianapolis: Indiana University Press.
McDonald, Tamar Jeffers (2007), Romantic Comedy: Boy Meets Girl Meets Genre, London and New York: Wallflower.
McRobbie, Angela (2004), ‘Post-Feminism and Popular Culture’, Feminist Media Studies 4 (3): 255–264.
Merleau-Ponty, Maurice (1993), ‘Eye and Mind,’ in Galen A. Johnson and Michael B. Smith (eds), Merleau-Ponty Aesthetics Reader: Philosophy and Painting, Evanston: Northwestern University Press, pp. 121–149.
Metz, Christian (1974), Film Language. A Semiotics of Cinema, trans. Michael Taylor, Oxford: Oxford University Press.
Miller, Nancy K. (1985), ‘Changing the Subject: Authorship, Writing and the Reader,’ in Teresa de Lauretis (ed.), Feminist Studies/Critical Studies, London: The Macmillan Press, pp. 102–120.
Modleski, Tania (1991), Loving With a Vengeance: Mass Produced Fantasies for Women, New York and London: Routledge.
Mulvey, Laura (1975), ‘Visual Pleasure and Narrative Cinema,’ Screen 16 (3): 6–18.
Ndalianis, Angela (2012), The Horror Sensorium: Media and the Senses, Jefferson: McFarland.
Neale, Steve (1980), Genre, London: BFI.
Neale, Steve (1990), ‘Questions of Genre,’ Screen 31 (1): 45–66.
Nelmes, Jill and Jule Selbo (eds) (2015), Women Screenwriters: an International Guide, Basingstoke: Palgrave Macmillan.
New, Christopher (2001), Philosophy of Literature: An Introduction, London and New York: Routledge.
Paszkiewicz, Katarzyna (2018), Genre, Authorship and Contemporary Women Filmmakers, Edinburgh: Edinburgh University Press.
Pedwell, Carolyn and Ann Whitehead (2012), ‘Affecting Feminism: Questions of Feeling in Feminist Theory,’ Feminist Theory 13: 115–129.
Penley, Constance (1997), NASA/Trek: Popular Science and Sex in America, New York and London: Verso.
Perkins, Claire (2014), ‘Dancing on My Own: Girls and Television of the Body,’ Critical Studies in Television 9 (3): 33–43.
Perkins, Claire and Constantine Verevis (eds) (2012), Film Trilogies: New Critical Approaches, Basingstoke and London: Palgrave Macmillan.
Pile, Steve (1997), ‘Introduction: Opposition, Political Identities, and Spaces of Resistance,’ in Michael Keith (ed.), Geographies of Resistance, London: Routledge, pp. 1–32.
Powers, Ann (2017), Good Booty: Love and Sex, Black and White, Body and Soul in American Music, New York: Dey Street Books. Kindle Edition.
Probyn, Elspeth (2004), ‘Teaching Bodies: Affects in the Classroom,’ Body and Society 10, 4: 21–43.
Projansky, Sarah (2001), Watching Rape: Film and Television in Postfeminist Culture, New York: New York University Press.
Projansky, Sarah (2007), ‘Mass Magazine Cover Girls: Some Reflections on Postfeminist Girls and Postfeminism’s Daughters,’ in Diane Negra and Yvonne Tasker (eds), Interrogating Postfeminism: Gender and the Politics of Popular Culture, Durham, NC: Duke University Press.
Prosser, Jay (1998), Second Skins: The Body Narratives of Transsexuality, New York: Columbia University Press.
Radner, Hilary (2011), ‘Speaking the Name of the Father in the Neo-Romantic Comedy: 13 Going on 30 (2004),’ in Hilary Radner and Rebecca Stringer (eds), Feminism at the Movies, London and New York: Routledge, pp. 134–148.
Renner, Karen (2006), ‘Repeat Viewings Revisited: Emotions, Memory, and Memento,’ Film Studies 8 (2) (Summer): 106–115.
Richard, Annie (2010), L’Autofiction et les femmes: un chemin vers l’altruisme?, Paris: L’Harmattan.
Richards, Rashna Wadia (2013), Cinephilia and Classical Hollywood: Cinematic Flashes, Bloomington and Indianapolis: University of Indiana Press.
Rowe Karlyn, Kathleen (1995), The Unruly Woman: Gender and the Genres of Laughter, Austin: University of Texas Press.
Sakomoto, Rumi (2015), ‘Mobilizing Affect for Collective War Memory,’ Cultural Studies 29 (2): 158–184.
Schaeffer, Jean-Marie (1999), Pourquoi la fiction, Paris: Broché.
Schatz, Thomas (1981), Hollywood Genres: Formulas, Filmmaking, and the Studio System, Austin: McGraw-Hill.
Sedgwick, Eve Kosofsky and Adam Frank (eds) (1995), Shame and Its Sisters: A Silvan Tomkins Reader, Durham: Duke University Press.
Seigworth, Gregory J. and Melissa Gregg (2010), ‘An inventory of shimmers,’ in Gregg and Seigworth (eds), The Affect Theory Reader, Durham: Duke University Press, pp. 1–25.
Silverman, Gillian (2021), ‘Bibliographic Traces: The Material Book and the Quest for Intimacy in Spike Jonze’s Her,’ in Mary Harrod, Suzanne Leonard and Diane Negra (eds), Imagining ‘We’ in the Age of ‘I’: Romance and Social Bonding in Contemporary Culture, London and New York: Routledge.
Smelik, Anneke (1998), And the Mirror Cracked: Feminist Cinema and Film Theory, London: Palgrave.
Smith, Greg M. (2007), Film Structure and the Emotion System, Cambridge: Cambridge University Press.
Smith, Murray (1995), Engaging Characters: Fiction, Emotion, and the Cinema, Oxford: Oxford University Press.
Sobchack, Vivian (2004), Carnal Thoughts: Embodiment and Moving Image Culture, Oakland: University of California Press.
Stacey, Jackie (1994), Star Gazing: Hollywood Cinema and Female Spectatorship, New York and London: Routledge.
Staiger, Janet (1993), Interpreting Films: Studies in the Historical Reception of American Cinema, Princeton: Princeton University Press.
Staiger, Janet (1997), ‘Hybrid or Inbred: The Purity Hypothesis and Hollywood Genre History,’ Film Criticism 22 (1) (Fall): 5–20.
Staiger, Janet (2000), Perverse Spectators: the Practices of Film Reception, New York: New York University Press.
Staiger, Janet (2003), ‘Authorship Approaches,’ in David A. Gerstner and Janet Staiger (eds), Authorship and Film, New York and London: Routledge.
Stamp, Shelley (2000), Movie-Struck Girls: Women and Motion Picture Culture After the Nickelodeon, Princeton: Princeton University Press.
Stamp, Shelley (2010), ‘Lois Weber: Star-Maker,’ in Vicki Callahan (ed.) Reclaiming the Archive: Feminism and Film History, Detroit: Wayne State University Press, pp. 131–153.
Stamp, Shelley (2015), Lois Weber in Early Hollywood, Oakland: University of California Press.
Tasker, Yvonne (2010), ‘Vision and Visibility: Women Filmmakers, Contemporary Authorship and Feminist Film Studies,’ in Vicki Callahan (ed.), Reclaiming the Archive: Feminism and Film History, Detroit: Wayne State University Press.
Tasker, Yvonne and Diane Negra (2007), ‘Introduction,’ in Yvonne Tasker and Diane Negra (eds), Interrogating Postfeminism: Gender and the Politics of Popular Culture, Durham and London: Duke University Press 2007, pp. 1–25.
Tossi, Mauricio (2018), ‘Poetizaciones del yo en la dramaturgia argentina de la posdictadura,’ Paper delivered at IV Congreso Internacional Los Textos del Cuerpo: Autorías Encarnadas: Representaciones intermediáticas y sexuadas de la creación cultural, Universitat Autònoma de Barcelona, 16–20 April.
Tudor, Andrew (1974), Theories of Film (Cinema One), London: Secker and Warburg.
Vigan, Delphine de (2015), D’après une histoire vraie, New York: Bloomsbury USA.
Wallace, Lee (2020), Reattachment Theory: Queer Cinema of Remarriage, Durham: Duke University Press.
Warhol, Robyn R. (1986), ‘Toward a Theory of the Engaging Narrator: Earnest Interventions in Gaskell, Stowe, and Eliot,’ PMLA 101 (5) (October): 811–818.
Warner, Michael (1993), ‘Introduction,’ in Warner (ed.), Fear of a Queer Planet: Queer Politics and Social Theory. Minneapolis: University of Minnesota Press, pp. xvii–xxxi.
Williams, Alan (1984), ‘Is a radical genre criticism possible?’, Quarterly Review of Film Studies 9 (2) (Spring): 121–125.
Williams, Linda (1991), ‘Film Bodies: Gender, Genre, and Excess’, Film Quarterly 44 (4) (Summer): 2–13.
Williams, Raymond (1973), The Country and the City, London: Chatto & Windus and Spokesman.
Williams, Raymond (1977), Marxism and Literature, Oxford: Oxford University Press.
Willman, Kate (2016), ‘21st Century Autofiction,’ Interdisciplinary Italy (February) http://www.interdisciplinaryitaly.org/2016/02/15/21st-century-autofiction/.
Wilson, Emma (2014), ‘“The Sea Nymphs Tested This Miracle”: Water Lilies and the Origin of Coral,’ in Chistopher Brown and Pam Hirsch (eds), The Cinema of the Swimming Pool, Oxford and New York: Peter Lang, pp. 203–13.
Wollen, Peter (1997), Signs and Meanings in the Cinema, London: BFI.
Worthington, Marjorie (2001), ‘Done with Mirrors: Restoring the Authority Lost in John Barth’s Funhouse,’ Twentieth-Century Literature 47 (1) (January): 114–136.
Websites
http://www.etymonline.com/index.php?term=interpret
http://www.pavelprokopic.com/affectivesigns.html
https://www.thefreedictionary.com/fellow+feeling
https://www.bbc.co.uk/programmes/p08wy5qs
Author information
Authors and Affiliations
Corresponding author
Rights and permissions
Copyright information
© 2021 The Author(s), under exclusive license to Springer Nature Switzerland AG
About this chapter
Cite this chapter
Harrod, M. (2021). Genre as Pastiche in Women’s Filmmaking. In: Heightened Genre and Women's Filmmaking in Hollywood. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-70994-5_2
Download citation
DOI: https://doi.org/10.1007/978-3-030-70994-5_2
Published:
Publisher Name: Palgrave Macmillan, Cham
Print ISBN: 978-3-030-70993-8
Online ISBN: 978-3-030-70994-5
eBook Packages: Literature, Cultural and Media StudiesLiterature, Cultural and Media Studies (R0)