Abstract

Feminism is the most visible movement in film criticism today, and the most dominant trend in that movement is psychoanalytically informed. Psychoanalytic feminism came to this position in film studies at the very latest by the early to mid-1980s. Before the consolidation and ascendancy of this particular variety of feminism, earlier approaches to the study of women and film included the search for a suppressed canon of women filmmakers--a feminist version of the auteur theory--and the study of the image of women in films, primarily the image of women in films by men. Neither of these approaches mandated a reliance on psychoanalysis, though, of course, one could pursue these research programs while also embracing psychoanalysis. My particular interest in this essay is to defend the study of the image of women in film, regarding that project as logically independent from the resort to psychoanalysis. In speaking of this approach to feminist film criticism, I have in mind writing on cinema from the early [nineteen-] seventies like Molly Haskell's From Reverence to rape which paralleled research in literary studies such as Kate Millett's Sexual Politics. Work of this sort called to our attention the ways the imagery of women in our culture recurrently portrayed them through a limited, constraining, and ultimately oppressive repertory of characterizations.