Freeland, Cynthia A. “Feminist Film Theory.” 3 Oct 1996. 3 April 2008.
http://www.uh.edu/~cfreelan/courses/femfilm.html

    This article discusses feminist theory as it relates to theory. It discusses the foundational contributions of Mulvey, specifically the portrayal of women in cinema as objects to desire and possess, which contrasts with the portrayal of men as key figures in accelerating plot and implementing change. The article notes the influence of psychoanalysis, Marxism and semiotics on the evolution of feminist film theory since its emergence roughly thirty years ago. It also asks what relation feminist film theory has to the broader feminist movement and its goal of social change. Furthermore, Freeland examines the supposed basis for feminist film theory, as noted above, and the validity and applicability of these sources to feminist philosophy. She asks whether feminist film theory should be altered and rooted in a more conscious-raising approach. Such changes would be in line with the experiential trend in feminism and would liberate feminist film theory from the burdensome, typically “bourgeois” aspects of the field, its tendency towards abstraction and jargon. Freeland documents a distinctly different means of approaching film in a feminist manner, by seeking to analyze the depictions of female self, pleasure, and goals. She also identifies another alternative, the view that feminism should contain a number of different strategies of criticism. Freeland notes the potential influence and benefit to feminist film theory from other integrating alternative feminist film theories, including “liberal, socialist, and postmodern feminism.” Freeland suggests that through critically approaching film, individuals can demonstrate the potential for rising above our surroundings and becoming more than what our environment seeks to make us.
    This article is relevant to the research topic because it presents a very theoretical view of feminism as it relates to film theory. By analyzing this topic, the issues concerning Joanna’s actions in the movie and feminism relevance to them becomes a more intricate issue than one might conclude initially. Instead of evaluating the characters motives, this article suggests we should look deeper, at the underlying social currents that create the environments where the conflicts emerge.