By now, a younger generation of women participate in extremely lively debates in which questions of gender, sexuality and representation on screens and across media are approached from perspectives that had not yet been articulated in the 1970s.

They are, in a sense, two sides of the same coin: women are, on the one hand, subjects of an extremely real and abject (as Julia Kristeva put it) body and denigrated sexuality; on the other, the proliferation of images, and their digitalisation produces more and more abstract and air-brushed representations of impossible female bodies. Both indicate, certainly, a "lack of progress." But, one hopes, discussions and resistance are emerging in response.

I am not sure that there has been a "lack of progress." On the contrary, the concept of feminism is not only well established but is now also attracting interest from young women, including teenagers and pre-teens. But a new interest is also symptomatic of the failure of the feminist project and the need for its renewal.

Woman, then, stands in patriarchal culture as a signifier for the male other, bound by a symbolic order in which man can live out his fantasies and obsessions through linguistic command by imposing them on the silent image of a woman still tied to her place as the bearer of meaning, not maker of meaning.

It seems to be generally acknowledged that sexism is far from defeated, flourishing through religions and other reactionary ideologies, which would definitely and gladly erase the concept of feminism.

One absolutely crucial change is that feminist film theory is today an academic subject to be studied and taught. "Visual Pleasure and Narrative Cinema" was a political intervention, primarily influenced by the Women's Liberation Movement and, in my specific case, a Women's Liberation study group, in which we read Freud and realised the usefulness of psychoanalytic theory for a feminist project.

By now, a younger generation of women participate in extremely lively debates in which questions of gender, sexuality and representation on screens and across media are approached from perspectives that had not yet been articulated in the 1970s.