ABSTRACT
This essay brings together the frameworks of post-cinema and the affective turn in order to examine how cultural echoes of film feminism reverberate from cinematic to post-cinematic platforms, as well as between different paradigms of subjectivity, and point to the continued vitality of feminist inquiry in understanding how shifts in screen technology influence the notion of womanhood as such. I first highlight relevant works in feminist film studies that have examined the links between cinema, spectatorship and the sensual (or the body), before turning to more recent studies of affect and the notion of the post-cinematic, in order to situate current shifts in both technology and scholarly inquiry. In the later parts of the essay, I analyze two music videos-as popular post-cinematic media forms-to illustrate how cinema and feminism are equally vital to the newer media, and function as sites of excess that challenge reductive conclusions about identity and subjectivity.With these case studies, I demonstrate how film and feminism continue to echo as important cultural touchstones in our post-cinematic present saturated with multiplying screens, viewing positions, and incommensurable subject formations.
