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9781789141221

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Reviews

Future filmmakers as well as art and media students will find this academic take on feminism and cinema a valuable resource. --Library Journal As a female filmmaker, I owe a debt of gratitude to Mulvey, for her filmmaking and for her tireless theoretical explorations. She has secured the space in which women are permitted expression and may explore the virtues of silence, stillness, and the maternal. It is always exciting when Mulvey publishes new work. --Joanna Hogg, filmmaker At once a critical fascination with Hollywood's images of women, a nuanced approach to modern women filmmakers, and a consideration of cinema's status in relation to contemporary art: the great skill of Mulvey is to move between these multiple lines of inquiry, taking her reader with her as only a true writer can. --Raymond Bellour, director of research emeritus, CNRS, Paris, and author of The Analysis of Film and Between-the-Images Tying together fourteen texts . . . is a concern for looking back, for thinking about the cinema as something past, fragile, perishable . . . . As Mulvey puts it, 'the cinema has moved from a technological straightjacket into a lived flexibility, ' opening up new avenues of inquiry, new modes of engagement. . . . Afterimages takes up themes and concepts long central to Mulvey's thinking, particularly feminism and psychoanalysis. . . . Her investments persist in altered form as they are rearticulated in relation to the demands of the present. --Erika Balsom Frieze Over forty years ago, Mulvey's searing polemic Visual Pleasure and Narrative Cinema brilliantly articulated why the movies we love also damage us by shoring up patriarchal power. Since that scorched earth moment, Mulvey's analysis of the moving image has broadened and deepened, which makes this book absolutely necessary to today's cultural struggles around gender, race, and class. --Amy Taubin, critic and contributing editor at Film Comment and Artforum

Future filmmakers as well as art and media students will find this academic take on feminism and cinema a valuable resource. --Library Journal As a female filmmaker, I owe a debt of gratitude to Mulvey, for her filmmaking and for her tireless theoretical explorations. She has secured the space in which women are permitted expression and may explore the virtues of silence, stillness, and the maternal. It is always exciting when Mulvey publishes new work. --Joanna Hogg, filmmaker At once a critical fascination with Hollywood's images of women, a nuanced approach to modern women filmmakers, and a consideration of cinema's status in relation to contemporary art: the great skill of Mulvey is to move between these multiple lines of inquiry, taking her reader with her as only a true writer can. --Raymond Bellour, director of research emeritus, CNRS, Paris, and author of The Analysis of Film and Between-the-Images Over forty years ago, Mulvey's searing polemic Visual Pleasure and Narrative Cinema brilliantly articulated why the movies we love also damage us by shoring up patriarchal power. Since that scorched earth moment, Mulvey's analysis of the moving image has broadened and deepened, which makes this book absolutely necessary to today's cultural struggles around gender, race, and class. --Amy Taubin, critic and contributing editor at Film Comment and Artforum Tying together fourteen texts . . . is a concern for looking back, for thinking about the cinema as something past, fragile, perishable . . . . As Mulvey puts it, 'the cinema has moved from a technological straightjacket into a lived flexibility, ' opening up new avenues of inquiry, new modes of engagement. . . . Afterimages takes up themes and concepts long central to Mulvey's thinking, particularly feminism and psychoanalysis. . . . Her investments persist in altered form as they are rearticulated in relation to the demands of the present. --Erika Balsom Frieze

Author Information

Laura Mulvey is Professor of Film and Media Studies at Birkbeck College, University of London and the author of Visual and Other Pleasures (1989), Fetishism and Curiosity (1996) and Death 24x a Second (Reaktion, 2005).

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