Editing Feminist film theory (section)

=== Additional theories ===
[[B. Ruby Rich]] argues that feminist film theory should shift to look at films in a broader sense. Rich's essay ''In the Name of Feminist Film Criticism'' claims that films by women often receive praise for certain elements, while feminist undertones are ignored. Rich goes on to say that because of this feminist theory needs to focus on how film by women are being received.<ref>Rich, B. Ruby. “In the Name of Feminist Film Criticism. ''Issues in Feminist Film Criticism.''  Patricia Erens, ed. Bloomington: Indiana University Press, 1990, pp. 268–287.</ref>

Coming from a black feminist perspective, American scholar, bell hooks, put forth the notion of the “oppositional gaze,” encouraging black women not to accept stereotypical representations in film, but rather actively critique them. The “oppositional gaze” is a response to Mulvey's ''visual pleasure'' and states that just as women do not identify with female characters that are not "real," women of color should respond similarly to the one denominational caricatures of black women.<ref>hooks, bell. “The Oppositional Gaze: Black Female Spectators.”  ''The Feminism and Visual Culture Reader.''  Amelia Jones, ed. London: Routledge, 2003, pp. 94–105.</ref>
Janet Bergstrom's article “Enunciation and Sexual Difference” (1979) uses Sigmund Freud's ideas of bisexual responses, arguing that women are capable of identifying with male characters and men with women characters, either successively or simultaneously.<ref name="Erens, Patricia 1990">Erens, Patricia. “Introduction” ''Issues in Feminist Film Criticism.''  Patricia Erens, ed. Bloomington: Indiana University Press, 1990. pp. xxi.</ref>  Miriam Hansen, in "Pleasure, Ambivalence, Identification: Valentino and Female Spectatorship" (1984)  put forth the idea that women are also able to view male characters as erotic objects of desire.<ref name="Erens, Patricia 1990"/>  In "The Master's Dollhouse: Rear Window," [[Tania Modleski]] argues that Hitchcock's film, ''[[Rear Window]]'', is an example of the power of male gazer and the position of the female as a prisoner of the "master's dollhouse".<ref>Braudy and Cohen, ''Film Theory and Criticism'', Sixth Edition, Oxford University Press, 2004, page 861.</ref>

[[Carol Clover]], in her popular and influential book, ''[[Men, Women, and Chainsaws]]: Gender in the Modern Horror Film'' (Princeton University Press, 1992), argues that young male viewers of the Horror Genre (young males being the primary demographic) are quite prepared to identify with the female-in-jeopardy, a key component of the horror narrative, and to identify on an unexpectedly profound level. Clover further argues that the "[[final girl]]" in the psychosexual subgenre of exploitation horror invariably triumphs through her own resourcefulness, and is not by any means a passive, or inevitable, victim. Laura Mulvey, in response to these and other criticisms, revisited the topic in "Afterthoughts on 'Visual Pleasure and Narrative Cinema' inspired by ''Duel in the Sun''" (1981). In addressing the heterosexual female spectator, she revised her stance to argue that women can take two possible roles in relation to film: a masochistic identification with the female object of desire that is ultimately self-defeating, or an identification with men as the active viewers of the text.<ref name="Erens, Patricia 1990"/> A new version of the gaze was offered in the early 1990s by [[Bracha Ettinger]], who proposed the notion of the "[[matrixial gaze]]".