| Introduction |
A League of Their Own (1992, dir. by Penny Marshall) |
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| The Male Gaze |
Dance, Girl, Dance (1940, dir. by Dorothy Arzner) |
Laura Mulvey, “Visual Pleasure and Narrative Cinema”; John Berger, Ways of Seeing chapter 3 |
| The Panopticon |
The Hitch-Hiker (1952, dir. by Ida Lupino) |
Michel Foucault, “Panopticism” from Discipline and Punish |
| Penetrating Looks |
The Slumber Party Massacre (1982, dir. by Amy Holden Jones) |
Carol J. Clover, “Her Body, Himself” from Men, Women, and Chainsaws |
| Disciplinary Gender |
Beau Travail (1999, dir. by Claire Denis) |
Judith Butler, “Subjects of Sex/Gender/Desire” from Gender Trouble |
| Imperial Leather |
The Piano (1993, dir. by Jane Campion) |
Anne McClintock, “The Lay of the Land” from Imperial Leather |
| Picturing Colonial Violence |
Sambizanga (1972, dir. by Sarah Maldoror) |
Frantz Fanon, “Concerning Violence” from The Wretched of the Earth; The Combahee River Collective Statement |
| The Settler Colonial Gaze |
Meek’s Cutoff (2010, dir. by Kelly Reichart) |
Evelyn Nakano Glenn, “Settler Colonialism as Structure: A Framework for Comparative Studies of U.S. Race and Gender Formation” |
| The Veil |
The Day I Became a Woman (2000, dir. by Marziyeh Meshkiny) |
Chandra Mohanty, “Under Western Eyes” |
| Property and the White Gaze |
The ethnographic films of Zora Neale Hurston (1936); Daughters of the Dust (1991, dir. by Julie Dash) |
Cheryl I. Harris, “Whiteness as Property” sections I and II |
| The Oppositional Gaze |
The Watermelon Woman (1996, dir. by Cheryl Dunye) |
bell hooks, “The Oppositional Gaze”’ So Mayer, “Uncommon Sensuality: New Queer Feminist Film/Theory” |
| Queer Lewks |
Paris is Burning (1990, dir. by Jennie Livingston) |
Michelle Parkerson, “Birth of a Notion”; Cathy J. Cohen, “Punks, Bulldaggers, and Welfare Queens” |
| Decolonizing Film |
Mauri (1988, dir. by Merata Mita) |
Tuck and Yang, “Decolonization is Not a Metaphor” |