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?Gentile defines here the role of critical subjectivity for the feminist spectator, examining how contradictions in women's films provide a key for understanding women's oppression. In Part I, Gentile acknowledges that her approach is founded on Jacques Lacan's and Louis Alhusser's theories regarding ideology and subjectivity. She argues that her ideas are not a departure--but are rather a development--of the classial film theories of Andre Bazin and Sergei Eisenstein. Part 2 consists of four case studies or textual readings. ... Invaluable bibliography, and a helpful list of film credits and distributors. Upper division undergraduate and graduate readership.?-Choice