[The Woman at the Keyhole is one] of the most significant contributions to feminist film theory sin ce the 1970s." --SubStance ... this intelligent, eminently readable volume puts women's filmmaking on the main stage.... serves at once as introduction and original contribution to the debates structuring the field. Erudite but never obscure, effectively argued but not polemical, The Woman at the Keyhole should prove to be a valuable text for courses on women and cinema." --The Independent When we imagine a "woman" and a "keyhole," it is usually a woman on the other side of the keyhole, as the proverbial object of the look, that comes to mind. In this work the author is not necessarily reversing the conventional image, but rather asking what happens when women are situated on both sides of the keyhole. In all of the films discussed, the threshold between subject and object, between inside and outside, between virtually all opposing pairs, is a central figure for the reinvention of cinematic narrative.
"Woman at the Keyhole lives up to the subtlety, originality, and careful ambiguity of its title. Judith Mayne is exemplary in her ability to analyze 'women's films' within the context of film histories, genres, theories, and contemporary feminist thinking. Balanced and judicious, she nevertheless doesn't flinch from attacking excesses in current theoretical circles, whether it's the valorizing of 'the gaze' or the demonizing of 'essentialism.' This book deserves to become a curriculum standard. - B. Ruby Rich "
"In Order to explore the qustion of the women filmmakers' specificity as distinct from the dominat male models, Judith Myne has set up a careful study of the techniques, themes, and images of both mainstream and avant-garde filmmaking from the origins of cinema to the present. This is a landmark study whose impact on film theory, literary theory, and feminist theory will be formative. - Germaine Bree"