SCREEN WOMEN

Anna Magnani

Christina Newland‘s Screen Women concerns the portrayal of women in the cinema (with reference to the works of scholars Laura Mulvey, Molly Haskell and others). Screen Women is intended to provoke discussion and debate about particular films or issues surrounding women. This section of Kubrick on the Guillotine is interested in films that appear or have been cast by critics as traditional, retrograde, or even misogynistic; in films that are considered stone-cold feminist classics; and in films that are tellingly silent when it comes to the subject of women, ignoring female subjectivity in favour of the masculine concerns of their story or genre.

SCREEN WOMEN: INTERRUPTING THE GAZE IN LUCHINO VISCONTI’S OSSESSIONE AND TAY GARNETT’S THE POSTMAN ALWAYS RINGS TWICE

SCREEN WOMEN: THE WOLF OF WALL STREET ON THE GUILLOTINE

SCREEN WOMEN: BARBARA STANWYCK’S PROTOFEMINISM IN PRESTON STURGES’ THE LADY EVE

SCREEN WOMEN: THE CRITICAL RESPONSE TO SCORSESE’S ALICE DOESN’T LIVE HERE ANYMORE

SCREEN WOMEN: BRIAN DE PALMA’S CARRIE

SCREEN WOMEN: THE MALE CHAUVINIST FANTASY OF STRAW DOGS

SCREEN WOMEN: ABEL FERRARA’S THE FUNERAL

SCREEN WOMEN: ANNA MAGNANI 

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