Bibliographie indicative :
→ Balsom Erika et Peleg Hila, Feminist Worldmaking and the Moving Image, Cambridge, MIT Press, 2022.
→ Beeston Alix et Solomon Stefan (dir.), Incomplete. The Feminist Possibilities of the Unfinished Film, Oakland, University of California Press, 2023.
→ Harding Sandra G., Whose science? Whose knowledge?: thinking from women’s lives, Ithaca (N.Y.), Cornell University Press, 1991.
→ Johnston Claire, Notes on Women’s Cinema, « Women’s Cinema as Counter Cinema », Screen, 1973 (trad. « Le cinéma des femmes comme contre-cinéma » », Genre en séries [En ligne], 15 | 2023, https://doi.org/10.4000/ges.4178).
→ Kuhn Annette, « Women’s Cinema and Feminist Film Criticism », Screen, vol. 16, n° 3, automne 1975, p. 107-112.
→ Matthews Jill, « New Challenges for Feminist History », Lilith: A Feminist History Journal, vol. 12, 2003, p. 1-5.
→ Mulvey Laura, « Visual pleasure and narrative cinema », Screen, n° 16, 1975, p. 6-18.
→ Rhodes Lis, « Whose History? », Film as Film:Formal experiment in film, 1910-1975, catalogue d’exposition (Hayward Gallery, Londres), 1979.
Filmographie indicative :
His-Story, Elsa Rassbach (1972)
L’Aggettivo Donna, Collettivo Femminista di Cinema di Roma (1971)
Mythes et médias, Vibeke Løkkeberg (1971-2021)
Maso et Miso vont en bateau, Carole Roussopoulos/Les Insoumuses (1976)
Calamity Jane & Delphine Seyrig, a Story, Babette Mangolte (1983-2020)
