{"title":"母亲主义与女性主义电影理论","authors":"Robin Blaetz","doi":"10.1080/09574042.2022.2021027","DOIUrl":null,"url":null,"abstract":"The intriguing title of Lauren Bliss’s first book suggests the confluence of two discourses that are rarely paired in film studies: [feminist] film theory and the maternal. The first is framed in this study as a system that offers essential observations about the place of representation in culture, but is in need of interrogation because of what is felt to be its detrimental effect on lived life. The final line of the introductory chapter states the book’s intention","PeriodicalId":54053,"journal":{"name":"Women-A Cultural Review","volume":"61 33 1","pages":"146 - 148"},"PeriodicalIF":2.0000,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"The Maternal and Feminist Film Theory\",\"authors\":\"Robin Blaetz\",\"doi\":\"10.1080/09574042.2022.2021027\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"The intriguing title of Lauren Bliss’s first book suggests the confluence of two discourses that are rarely paired in film studies: [feminist] film theory and the maternal. The first is framed in this study as a system that offers essential observations about the place of representation in culture, but is in need of interrogation because of what is felt to be its detrimental effect on lived life. The final line of the introductory chapter states the book’s intention\",\"PeriodicalId\":54053,\"journal\":{\"name\":\"Women-A Cultural Review\",\"volume\":\"61 33 1\",\"pages\":\"146 - 148\"},\"PeriodicalIF\":2.0000,\"publicationDate\":\"2022-01-02\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Women-A Cultural Review\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1080/09574042.2022.2021027\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"HUMANITIES, MULTIDISCIPLINARY\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Women-A Cultural Review","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/09574042.2022.2021027","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"HUMANITIES, MULTIDISCIPLINARY","Score":null,"Total":0}
The intriguing title of Lauren Bliss’s first book suggests the confluence of two discourses that are rarely paired in film studies: [feminist] film theory and the maternal. The first is framed in this study as a system that offers essential observations about the place of representation in culture, but is in need of interrogation because of what is felt to be its detrimental effect on lived life. The final line of the introductory chapter states the book’s intention
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