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Theories of Representation and Difference
The Woman at the Keyhole: Feminism and Women's Cinema
"[The Woman at the Keyhole is one] of the most significant contributions to feminist film theory sin ce the 1970s." ―SubStance
" . . . this intelligent, eminently readable volume puts women's filmmaking on the main stage. . . . serves at once as introduction and original contribution to the debates structuring the field. Erudite but never obscure, effectively argued but not polemical, The Woman at the Keyhole should prove to be a valuable text for courses on women and cinema." ―The Independent
When we imagine a "woman" and a "keyhole," it is usually a woman on the other side of the keyhole, as the proverbial object of the look, that comes to mind. In this work the author is not necessarily reversing the conventional image, but rather asking what happens when women are situated on both sides of the keyhole. In all of the films discussed, the threshold between subject and object, between inside and outside, between virtually all opposing pairs, is a central figure for the reinvention of cinematic narrative.
" . . . this intelligent, eminently readable volume puts women's filmmaking on the main stage. . . . serves at once as introduction and original contribution to the debates structuring the field. Erudite but never obscure, effectively argued but not polemical, The Woman at the Keyhole should prove to be a valuable text for courses on women and cinema." ―The Independent
When we imagine a "woman" and a "keyhole," it is usually a woman on the other side of the keyhole, as the proverbial object of the look, that comes to mind. In this work the author is not necessarily reversing the conventional image, but rather asking what happens when women are situated on both sides of the keyhole. In all of the films discussed, the threshold between subject and object, between inside and outside, between virtually all opposing pairs, is a central figure for the reinvention of cinematic narrative.
272 pages, Paperback
First published January 1, 1990
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Displaying 1 - 2 of 2 reviews
October 30, 2008
Tries to critique some of the feminist film theory as oversimplified, but still remains pretty confused. Some thoughts on “primitive cinema.” A chapter on Arzner, some on Deren and Dulac, a lot on modern women filmmakers, which I skipped. Seems obsessed with Uncle Josh at the Moving Picture Show. Guess I’m too dumb for this book.
July 11, 2013
I didn't find this book entirely useful... It was a great introduction to films and filmmakers I was unfamiliar with, but I was left unsatisfied with much of Maynes' discussions. I would have liked her points to be more elaborated and more clear. The book wasn't difficult, but strangely hard to follow. I wish she would have elaborated more on her theories of the screen and her theories of desire. I think this book tries to juggle too many ideas and is left diluted in the wake of its ambition.
Displaying 1 - 2 of 2 reviews