Disruptive Feminisms Raced, Gendered, and Classed Bodies in Film

Disruptive Feminisms provides a revolutionary new approach to feminism as a disruptive force. By examining a variety of films (Post Tenebras Lux, Craig's Wife, and Bright Days Ahead) and filmmakers who are not so obviously read as feminist or Marxist (Dorothy Arzner, Calin Peter Netzer, and Paul Thomas Anderson), Foster showcases their ability to disrupt and effectively challenge everything from class and racism, as well as sexism, ageism, and homophobia.

Gwendolyn Audrey Foster is Professor of Film Studies in the Department of English, at the University of Nebraska, Lincoln, USA. Her numerous books include Hoarders, Doomsday Preppers, and the Culture of Apocalypse (2014), A Short History of Film, co-written with Wheeler Winston Dixon (2008; second revised edition 2013); Class-Passing: Social Mobility in Film (2005), Performing Whiteness: Postmodern Re/Constructions (2003), Captive Bodies: Postcolonial Subjectivity in the Cinema (1999), and Women Filmmakers of the African and Asian Diaspora (1997). She is also editor (with Wheeler Winston Dixon) of the book series Quick Takes: Movies and Popular Culture.

Introduction
1. Feminist Disruptions in Postcolonial Film
2. Queering Repression and Gender Codes
3. Malignant Narcissism and the Toxic Family
4. Embracing Mature Female Eroticism