著者

斉藤 綾子

出版者

日本映像学会

雑誌

映像学 (ISSN:02860279)

巻号頁・発行日

vol.59, pp.5-22,129, 1997-11-25 (Released:2023-03-31)

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In this paper I attempt to understand feminist film theory not as the development of an autonomous and absolute theoretical construction, bu t as a manifesto, fraught with contradictions and difficulties which make the whole movement all the more significant, and at the same time historically determinant. Tracing some historically decisive moments in the development of feminist film theory in the 1970s, I introduce some crucial arguments and debates discussed by feminists with different political positions during the period, and in so doing argue that because of the ways in which feminist film theory tried to negotiate the difficult relationship between film theory and film practice it inevitably faced a theoretical impasse which nonetheless opened up other questions and problems latent in the semiotic / linguistic model, a dominant model in the 1960s and 70s film theory. My intention is to show that this is precisely why feminist film theory was and still is important, problematic as it is, today.