Judith Mayne
Biographic Data
| ID | 143752 |
|---|---|
| NAME | Judith Mayne |
| GIVEN NAMES | Judith |
| FAMILY NAME | Mayne |
| SIGNATURE | MAYNE J |
| AFFILIATIONS | The Ohio State University |
| VERIFIED | No |
| TOTAL WORKS | 19 |
| TOTAL CITATIONS | 6 |
| AUTHOR COUNT | 19 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1977 |
| LATEST PUBLICATION YEAR | 2004 |
| H-INDEX | 2 |
Marlene, Dolls, and Fetishism
The Gaze and the Labyrinth: The Cinema of Liliana Cavani
1The Labyrinth: Cognition and Tragic Imagination151Francesco di Assisi: The Medieval Chronicle and the Establishing of Physical Reality172Realism against Illusion: The Ceremonial Divestiture of Power in Galileo373Metaphors of Revolt: The Dialogic Silence in I cannibali57Pt. 2The Transgressive Gaze: Style as Tension794Toward a Negative Mythopoeia: Spectacle Memory, and Representation in The Night Porter815Staging the Gaze: Beyond Good and Evil1166…
The Scorsese Connection
Cinema and Spectatorship
Lighting up the Screen: Feminism and Film
The Woman at the Keyhole: Feminism and Women's Cinema
From a Hybrid Place
Essay| December 01 1990 From a Hybrid Place: An Interview with Trinh T. Minh-Ha Judith Mayne Judith Mayne Judith Mayne is a professor of French and women’s studies at Ohio State University. Search for other works by this author on: This Site PubMed Google Scholar Afterimage (1990) 18 (5): 6–9. https://doi.org/10.1525/aft.1990.18.5.6 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twit…
Private Novels, Public Films
Private Novels, Public Films
Soviet Film Montage and the Woman Question
Research Article| January 01 1989 Soviet Film Montage and the Woman Question Judith Mayne Judith Mayne Search for other works by this author on: This Site Google Camera Obscura (1989) 7 (1 (19)): 24–53. https://doi.org/10.1215/02705346-7-1_19-24 Cite Icon Cite Share Icon Share Twitter Permissions Search Site Citation Judith Mayne; Soviet Film Montage and the Woman Question. Camera Obscura 1 January 1989; 7 (1 (19)): 24–53. doi: https://doi.org/10…
Feminist Film Theory and Criticism
Questions of Cinema
From Hitler to Hepburn: A Discussion of Women's Film Production and Reception
Helen Fehervary, Claudia Lenssen, Judith Mayne, From Hitler to Hepburn: A Discussion of Women's Film Production and Reception, New German Critique, No. 24/25, Special Double Issue on New German Cinema (Autumn, 1981 - Winter, 1982), pp. 172-185
The Woman at the Keyhole: Women's Cinema and Feminist Criticism
The term seems, if not necessarily simple to define, then at least straightforward enough. But term has acquired two different meanings which, to some minds, are diametrically opposed. It is at hypothetical intersection of these two meanings, rather than with favoring of one over other, that I begin. First, women's cinema refers to films made by women. They range from classical Hollywood directors like Dorothy Arzner and Ida Lupino to their more …
Female Narration, Women's Cinema: Helke Sander's the All-Round Reduced Personality/Redupers
Christa Wolf, in Quest for Christa T., evokes the cinema as a form of illusory presence, as fantasy control of the past. Here is how the female narrator of Quest for Christa T. describes not only her search for Christa, but for the very possibility of memory: I even name her name, and now I'm quite certain of her. But all the time I know that it's a film of shadows being run off the reel, a film that was once projected in the real light of cities…
Recensioni: Federico Fellini: Essays in Criticism
Recent filmmaking: Some recent filmographies
Helen W. Cyr. A Filmography of the Third World. Scarecrow Press, 1976. 319 pp. James Morrison, and Richard Blue. Political Change: A Film Guide. University of Minnesota, 1975. 87 pp. Julianne Burton. The New Latin American Cinema. Cineaste pamphlet, 1976. 29 pp
Women and Film: A Discussion of Feminist Aesthetics
Michelle Citron, Julia Lesage, Judith Mayne, B. Ruby Rich, Anna Marie Taylor, Women and Film: A Discussion of Feminist Aesthetics, New German Critique, No. 13, Special Feminist Issue (Winter, 1978), pp. 82-107
Fassbinder and Spectatorship
It is nearly impossible to imagine a discussion of film as an ideological medium which does not focus at some point on Hollywood cinema. Hollywood's domination of world-wide film production, ranging from approximately the post-World War I years through the 1940s, firmly established the film industry within the laws of monopoly capitalism. Hollywood cinema has thus been a central factor in understanding the nature of art in capitalist society as a…
Feminist Film Theory and Criticism
The Woman at the Keyhole: Women's Cinema and Feminist Criticism
The term seems, if not necessarily simple to define, then at least straightforward enough. But term has acquired two different meanings which, to some minds, are diametrically opposed. It is at hypothetical intersection of these two meanings, rather than with favoring of one over other, that I begin. First, women's cinema refers to films made by women. They range from classical Hollywood directors like Dorothy Arzner and Ida Lupino to their more …
Marlene, Dolls, and Fetishism
Fassbinder and Spectatorship
It is nearly impossible to imagine a discussion of film as an ideological medium which does not focus at some point on Hollywood cinema. Hollywood's domination of world-wide film production, ranging from approximately the post-World War I years through the 1940s, firmly established the film industry within the laws of monopoly capitalism. Hollywood cinema has thus been a central factor in understanding the nature of art in capitalist society as a…
Fassbinder and Spectatorship
It is nearly impossible to imagine a discussion of film as an ideological medium which does not focus at some point on Hollywood cinema. Hollywood's domination of world-wide film production, ranging from approximately the post-World War I years through the 1940s, firmly established the film industry within the laws of monopoly capitalism. Hollywood cinema has thus been a central factor in understanding the nature of art in capitalist society as a…
Recent filmmaking: Some recent filmographies
Helen W. Cyr. A Filmography of the Third World. Scarecrow Press, 1976. 319 pp. James Morrison, and Richard Blue. Political Change: A Film Guide. University of Minnesota, 1975. 87 pp. Julianne Burton. The New Latin American Cinema. Cineaste pamphlet, 1976. 29 pp
Women and Film: A Discussion of Feminist Aesthetics
Michelle Citron, Julia Lesage, Judith Mayne, B. Ruby Rich, Anna Marie Taylor, Women and Film: A Discussion of Feminist Aesthetics, New German Critique, No. 13, Special Feminist Issue (Winter, 1978), pp. 82-107
Recensioni: Federico Fellini: Essays in Criticism
From Hitler to Hepburn: A Discussion of Women's Film Production and Reception
Helen Fehervary, Claudia Lenssen, Judith Mayne, From Hitler to Hepburn: A Discussion of Women's Film Production and Reception, New German Critique, No. 24/25, Special Double Issue on New German Cinema (Autumn, 1981 - Winter, 1982), pp. 172-185
The Woman at the Keyhole: Women's Cinema and Feminist Criticism
The term seems, if not necessarily simple to define, then at least straightforward enough. But term has acquired two different meanings which, to some minds, are diametrically opposed. It is at hypothetical intersection of these two meanings, rather than with favoring of one over other, that I begin. First, women's cinema refers to films made by women. They range from classical Hollywood directors like Dorothy Arzner and Ida Lupino to their more …
Female Narration, Women's Cinema: Helke Sander's the All-Round Reduced Personality/Redupers
Christa Wolf, in Quest for Christa T., evokes the cinema as a form of illusory presence, as fantasy control of the past. Here is how the female narrator of Quest for Christa T. describes not only her search for Christa, but for the very possibility of memory: I even name her name, and now I'm quite certain of her. But all the time I know that it's a film of shadows being run off the reel, a film that was once projected in the real light of cities…
Questions of Cinema
Feminist Film Theory and Criticism
Soviet Film Montage and the Woman Question
Research Article| January 01 1989 Soviet Film Montage and the Woman Question Judith Mayne Judith Mayne Search for other works by this author on: This Site Google Camera Obscura (1989) 7 (1 (19)): 24–53. https://doi.org/10.1215/02705346-7-1_19-24 Cite Icon Cite Share Icon Share Twitter Permissions Search Site Citation Judith Mayne; Soviet Film Montage and the Woman Question. Camera Obscura 1 January 1989; 7 (1 (19)): 24–53. doi: https://doi.org/10…
From a Hybrid Place
Essay| December 01 1990 From a Hybrid Place: An Interview with Trinh T. Minh-Ha Judith Mayne Judith Mayne Judith Mayne is a professor of French and women’s studies at Ohio State University. Search for other works by this author on: This Site PubMed Google Scholar Afterimage (1990) 18 (5): 6–9. https://doi.org/10.1525/aft.1990.18.5.6 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twit…
Private Novels, Public Films
Private Novels, Public Films
The Woman at the Keyhole: Feminism and Women's Cinema
Cinema and Spectatorship
Lighting up the Screen: Feminism and Film
The Scorsese Connection
The Gaze and the Labyrinth: The Cinema of Liliana Cavani
1The Labyrinth: Cognition and Tragic Imagination151Francesco di Assisi: The Medieval Chronicle and the Establishing of Physical Reality172Realism against Illusion: The Ceremonial Divestiture of Power in Galileo373Metaphors of Revolt: The Dialogic Silence in I cannibali57Pt. 2The Transgressive Gaze: Style as Tension794Toward a Negative Mythopoeia: Spectacle Memory, and Representation in The Night Porter815Staging the Gaze: Beyond Good and Evil1166…
Marlene, Dolls, and Fetishism
Art (17 works) · Cinema and Media Studies (14 works) · Art history (9 works) · Movie theater (9 works) · Sociology (7 works) · Literature (6 works) · Aesthetics (5 works) · Gender Studies (5 works) · Criticism (3 works) · Feminism (3 works)