Since the 1970s, the theory of film has gained a special place in film studies. One of the most important and challenging areas in this regard is the connection between film studies and feminist theories, which should be directly addressed in the emergence of prominent theorists who often borrow some concepts from previous or contemporary thinkers such as Sigmund Freud, Michel Foucault and Jacques Lacan to link these two areas together.

The book “Film and Feminist Critics” focuses on the critical opinions of a group of feminist theorists – as the name suggests – to examine the essence and theory of feminist film.

The author begins by reviewing the history of feminist theory and criticism and in the preface of their book, writes: “Feminist film theory has been a driving force for exciting advancements in the field of cinema since its emergence in the 1970s. This theory has become the foundation of film theory and has had a significant impact. Its influence in the realm of filmmaking has been evident through the creation of independent and avant-garde films alongside a number of mainstream films, thus entering the practical realm.”

The book has six chapters with the titles “The Gaze of Masculinity”, “The Voice of Women”, “Gender Technologies”, “Queer Desires”, “Woman-Monster”, and “Masculinity in Crisis”, all of which are derived from the six fundamental concepts in feminist film theory.

In the first chapter, the author discusses the theories of “Laura Mulvey”, an English cinema theorist and filmmaker, and the second chapter is about the ideas of “Kaja Silverman”, an American theorist who emphasizes the use of sound and speech in film – as opposed to image and gaze. Silverman believes that while the male voice in cinema quickly exits his body, the female voice remains confined within her body, which marginalizes her with its delayed and muted sound. She argues that the female voice is often given less importance than the male voice, leading to speaking under the breath, silence, or screaming. The next chapter examines the ideas of “Teresa de Lauretis”, an Italian feminist theorist. She presents a new concept of “women’s cinema” as films made by and for women, redefining the role of women in cinema.

The concept of the “woman-monster” and the idea of contamination in horror films is another concept that is discussed in detail in this book, relying on the theories of Barbara Creed, a professor at the University of Melbourne in Australia. According to Creed, the concept of woman is often linked to her reproductive function in horror films, which is constructed as a contaminated entity in patriarchal societies. She disagrees with Freud’s theory of women being seen as the cause of their own horror. The final chapter of the book also focuses on Silverman’s theories on masculinity.

“The film and feminist critics” is a valuable and unique book that its smooth translation makes it appealing to Persian-speaking readers. Reading this book is recommended for those interested in the fields of cinema, feminism, and women’s issues.

Book Name: Film and Feminist Critics

Author: Shohini Chaudhuri

Translators: Mohsen Khakpour and Farhad Jafari

Publication date: 1393

Publisher: Tabriz – Project