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| Notes on ContributorsIntroductionPhase One: Pioneers and Classics | |
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| The Modernist ModeIntroductory Notes | |
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| Woman's Cinema as Counter-CinemaLaura Mulvey | |
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| Visual Pleasure and Narrative Cinema | |
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| Woman as Sign | |
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| A Contemporary Film Noir and Feminist Criticism | |
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| Filming the Female Body | |
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| Male Subjectivity and Celestial Satire | |
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| It's a Wonderful Life | |
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| Is the Gaze Male? | |
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| Critical Strategies Phase Two | |
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| Critiques of Phase One Theories | |
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| New Methods Introductory Notes | |
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| Lesbian Looks | |
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| Female Authorship | |
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| The Difficulty of Difference | |
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| Masochism and the Perverse Pleasures of the Cinema | |
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| Pleasure, Ambivalence, Identification | |
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| Valentino and Female Spectatorship | |
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| Masculinity as Spectacle | |
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| Reflections on Men and Mainstream Cinema | |
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| Strategies of Coherence: Narrative, Cinema, Feminist Poetics, Yvonne Rainer | |
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| The Orthopsychic Subject: Film Theory and the Reception of Lacan Phase Three | |
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| Race, Sexuality, and Postmodernism in Feminist Theory Introductory Notes | |
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| Speaking Nearby | |
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| White Privilege and Looking Relations | |
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| Race and Gender in Feminist Film Theory | |
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| Racism, Representation, and Psychoanalysis Pratibha Parmar | |
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| That Moment of Emergence | |
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| Sexual Indifference and Lesbian RepresentationPhase Four | |
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| Spectatorship, Ethnicity, and Melodrama Introductory Notes | |
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| Film and the Masquerade: Theorizing the Female Spectator | |
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| Women's Genres | |
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| Desperately Seeking Difference | |
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| The Case of the Missing Mother | |
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| Maternal Issues in Vidor's | |
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| 'Something Else Besides a Mother' | |
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| Maternal Melodrama | |
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| Tears and Desire | |
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| Women and Melodrama in the 'Old' Mexican Cinema | |
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| Three Men and Baby | |
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| The Carapace that Failed: Ousame Sembene's Xala Further Reading | |
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| Index | |