"Archive of issues of a "triannual, multimedia, online-only journal of feminist theories and women's movements." Topics of some of the issues include feminist television studies, Zora Neale Hurston, feminism and violence, the legacy of Margaret Mead, and feminist views of the family. Includes photos, videos of conference proceedings, and other material from the collection of the Barnard Center for Research on Women. From Barnard College." (via LII)

Call#: Van Pelt Library Reference Stacks HQ1410 .K444 1997

"The Forum is a non-partisan student organization of Harvard Law School dedicated to bringing open discussion of a broad range of legal, political and social issues to the Harvard Law School campus." The audio of past programs (some dating back to 1954) is archived here.

An online exhibit from the Jewish Women's Archive, "explor[ing] Jewish women's impact on feminism and on the American Jewish community."

"The materials in this on-line archival collection document various aspects of the Women's Liberation Movement in the United States, and focus specifically on the radical origins of this movement during the late 1960s and early 1970s. Items range from radical theoretical writings to humourous plays to the minutes of an actual grassroots group."

"The most important thing to say about Thornham's book is that it is one of the best edited collections of essays this reviewer has seen. Moving in roughly chronological order, Thornham includes selections from all the branches of feminist film criticism and by most of the important scholars in the field. The editor has chosen carefully, and the reader will take pleasure in revisiting the works of Jonhston, Mulvey, Doane, de Lauretis, Kuhn, Gledhill, Staiger, Modleski, hooks, and Butler, among others. Thornham introduces each section with an admirable summary of the historical context of each new movement. This collection will be widely circulated and used in countless classrooms over the coming years, as well it should be. All levels." (Choice, March 2000)

""In imaging female subjectivity and addressing the spectator as female, feminist filmmakers have created films which transform and innovate cinematic codes and conventions." Smelik switches the focus of feminist discourse from spectator to filmmaker. Unwilling to revive the auteur theory, which she considers to be elitist and phallocentric, she nevertheless investigates the works of such filmmakers as Sander, Campion, Treut, and Adlon and discovers ways in which they subvert traditional cinematic subjectivity, affect, and modes of representation. Smelik's arguments are, of course, deeply rooted in the feminist theory of Lacan, Mulvey, Silverman, Kaplan, Irigaray, et al., but she also includes such figures as Eisenstein and Barthes. She does not privilege any particular theory but uses whatever works for the particular filmmaker she is dealing with. Her choice of films is as refreshing as her method: one is too used to reading about the same feminist films in book after book. Smelik's knowledge of the field is encyclopedic, and her analyses are consistently persuasive. This welcome addition to the ongoing feminist discourse is recommended for upper-division undergraduates through faculty." (Choice, February 1999)

interviews with Pearl Bowser; Margaret Caples; Michelle Citron; Megan Cunningham; Cheryl Dunye; Vanalyne Green; Barbara Hammer; Kate Horsfield; Carol Leigh; Susan Mogul; Juanita Mohammed; Frances Negrsn-Muntaner; Eve Oishi; Constance Penley; Wendy Quinn; Julia Reichert; Carolee Schneemann; Valerie Soe; Victoria Vesna; and Yvonne Welbon.

Papers presented at a conference held Nov. 1990 at York University and other papers.