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Table of Contents

  1. In Memoriam Tatjana Turanskyj, 1967–2021
  2. pp. vii-viii
  3. DOI: https://doi.org/10.1353/fgs.2022.0000
  4. restricted access
  1. Acknowledgments
  2. p. viii
  3. DOI: https://doi.org/10.1353/fgs.2022.0001
  4. restricted access
  1. Editors’ Introduction
  2. Alexandra M. Stewart, Hester Baer
  3. pp. ix-x
  4. DOI: https://doi.org/10.1353/fgs.2022.0002
  5. restricted access
  1. Introduction: The Singular Plural of Feminist Film Practice
  2. Angelica Fenner, Barbara Mennel
  3. pp. 1-26
  4. DOI: https://doi.org/10.1353/fgs.2022.0003
  5. restricted access
  1. Activating the Archive: Feminism and German Women’s Film Heritage, 2010–2020
  2. Erica Carter
  3. pp. 27-53
  4. DOI: https://doi.org/10.1353/fgs.2022.0004
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  1. Feminist Filmmaking before Feminism: An Interview with Ula Stöckl
  2. Angelica Fenner, Hester Baer
  3. pp. 54-72
  4. DOI: https://doi.org/10.1353/fgs.2022.0005
  5. restricted access
  1. Refracting the Gaze: A Conversation with Ines Johnson-Spain on Becoming Black (2019)
  2. Angelica Fenner
  3. pp. 118-140
  4. DOI: https://doi.org/10.1353/fgs.2022.0008
  5. restricted access
  1. The Ethics of Difference: Masculinity and Foreignness in Maren Ade’s Toni Erdmann (2016) and Valeska Grisebach’s Western (2017)
  2. Gozde Naiboglu
  3. pp. 141-159
  4. DOI: https://doi.org/10.1353/fgs.2022.0009
  5. restricted access
  1. A Gendered Suspension of Time: Waiting in the Cinema of Angela Schanelec
  2. Olivia Landry
  3. pp. 160-181
  4. DOI: https://doi.org/10.1353/fgs.2022.0010
  5. restricted access
  1. Shoes, Drunk Women, and Phallic Girls: Tatjana Turanskyj’s Feminist Interventions in German Cinema
  2. Alice Bardan
  3. pp. 182-201
  4. DOI: https://doi.org/10.1353/fgs.2022.0011
  5. restricted access