Chick Flicks: Theories and Memories of the Feminist Film by B. Ruby Rich

By B. Ruby Rich

“If there has been a second in the course of the sixties, seventies, or eighties that modified the heritage of the women’s movie stream, B. Ruby wealthy was once there. half journalistic chronicle, half memoir, Chick Flicks—with its definitive, the-way-it-was number of essays—captures the beginning and progress of feminist film.

For over 3 many years wealthy has been probably the most very important voices in feminist movie feedback. Her presence at movie gala's, her movie studies within the Village Voice, Elle, Out, and the recommend, and her commentaries at the public radio software “The World” have secured her a spot as a important determine within the background of what she deems “cinefeminism.” within the wish new iteration of feminist movie tradition will be revitalized by way of reclaiming its personal background, wealthy introduces each one essay with an autobiographical prologue that describes the highbrow, political, and private moments from which the paintings arose. trip, softball, intercourse, and voodoo all in some way healthy right into a ebook that incorporates vintage wealthy articles protecting such subject matters because the antiporn move, the flicks of Yvonne Rainer, a Julie Christie stopover at to Washington, and the traditionally evocative movie Mädchen in Uniform.”

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Additional resources for Chick Flicks: Theories and Memories of the Feminist Film Movement

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The modern erotics of damage, which I critique in chapter 3, enters some contemporary women artists’ self-portrayals as mon- 19 Frueh_text 11/7/00 10:16 AM Page 20 INTRODUCTION strous—excessively confrontational and, for many, difficult to visually enjoy. Obvious examples are Cindy Sherman’s Disasters and Fairy Tales, Orlan’s operating room documentation of her cosmetic surgeries, Jo Spence’s photographs of her midlife body after breast cancer surgeries, and Hannah Wilke’s photographs that show weight gain and hair loss from cancer treatments, drawings composed of the artist’s own hair, and watercolors of her hand pierced by an IV needle.

Pacteau, Symptom of Beauty, , . : Harvard University Press, ), , briefly discusses Western traditions that connect the monster with ideas of warning and showing. Wolf, Beauty Myth, . Luce Irigaray, Sexes and Genealogies, trans. Gillian C. Gill (New York: Columbia University Press, ),  (emphasis hers). 37 Frueh_text 11/7/00 10:16 AM Page 38 INTRODUCTION . Mary Ann Doane, The Desire to Desire: The Woman’s Film of the s (Bloomington: Indiana University Press, ), .

Crossing Press, ), ,  (earlier version published as “Poems Are Not Luxuries,” Chrysalis: A Magazine of Woman’s Culture, no.  []: ). . , . . I hope that I’m contributing to Susan Gubar’s “more mirthful lexicons[—] . . delicious linguistic practices . . that . . ” Critical Inquiry , no.  (summer ): . 35 Frueh_text 11/7/00 10:16 AM Page 36 INTRODUCTION . Noliwe M. : Rutgers University Press, ), discusses beauty as an issue of race and class from historical and political perspectives.

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