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| Acknowledgments | p. vii |
| Feminist Film Theory and the Postfeminist Era: Disney's Mulan | p. 1 |
| Howling for Multitudes: Angela Carter's The Company of Wolves | p. 21 |
| The Female Authorial Voice: Marguerite Duras' Hiroshima mon amour | p. 49 |
| Beyond Freud and Lacan: Susan Streitfeld's Female Perversions | p. 70 |
| Cathartic Meta-narrative: Lea Pool's Lost and Delirious and Barbara Sweete's Perfect Pie (Two Scripts by Judith Thompson) | p. 95 |
| Diasporic Imagination and Transcultural Identity: Clara Law's The Goddess of 1967 | p. 124 |
| Representing Representation: Agnes Varda's Sans toit ni loi (Vagabond) | p. 144 |
| From Text to Context: Metadocumentary and Skyworks | p. 157 |
| Filling the Theory Vacuum: Marleen Gorris' Antonia | p. 174 |
| Notes | p. 187 |
| Bibliography | p. 197 |
| Index | p. 203 |
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