This comprehensive and meticulous labour of love, edited with such rigour and care by Lucy Bolton, will be a primary resource for scholars, students and practitioners. I will be using it as the key text on several of my own courses and I am sure other scholars working in the fields of feminism and visual culture will do so, too. A feminist feast that is both timely and pivotal within film studies and beyond.

Anna Backman Rogers, Professor of Aesthetics, Culture and Feminist Theory, University of Gothenburg, Sweden, and author of Still Life: Notes on Barbara Loden's Wanda (2020) & Sofia Coppola: The Politics of Visual Pleasure (2019)

This first-of-its-kind collection brings together essential voices in feminist film philosophy, skillfully weaving foundational and contemporary perspectives into a cohesive whole. Lucy Bolton demonstrates impressive scholarly judgment in creating a resource that makes complex philosophical concepts both accessible and intellectually rigorous. This thoughtfully curated reader will be an invaluable addition to courses exploring the rich intersection of feminist theory and film studies.

Kelli Fuery, Professor of Creative and Cultural Industries, Chapman University, USA, and author of Ambiguous Cinema: From Simone de Beauvoir to Feminist Film-Phenomenology (2022)

A superbly curated selection of writings, cutting across fields and time periods, deepens understanding of feminist film philosophy and the many forms of feminist thought and practice in relation to film. With an eye towards what it means to study film at this moment in history, this reader introduces likely and unlikely feminist perspectives that unsettle established canons of thought in film. Each section of this well-crafted reader takes up specific themes - dominant imaginaries, time, bodies - that infuse both energy and rigour into the study of film, bringing questions of aesthetics and politics into conversation with the wider domains of ethics, visibility and power. Provocative and inspiring, this essential reading asserts that a serious appreciation of film in the 21st century cannot be sustained without recourse to the urgent, creative and on-going work of feminism.

Aparna Sharma, Film Professor, Department of World Arts and Cultures/ Dance, University of California Los Angeles, USA