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A compendious anthology of women's writing on film.
A compendious anthology of women's writing on film.
It's widely assumed that Britain in the 1950s experienced a return to traditional gender roles. Popular cinema has typically been seen to represent this era through the dominant image of the 'happy housewife'. "Femininity in the Frame" is a sharply observant account of how British cinema engaged with femininity and women's roles during this important period. Written in a lively and accessible manner, it challenges received understandings, arguing that the period was marked by social unease and anxiety about gender roles and femininity, with much British cinema producing ambiguous messages about feminine identities and the role of women. Through analysing marginalized figures, such as prostitutes, criminals and femmes fatales, and addressing central themes, notably sexuality, marriage and female friendship, Melanie Bell examines how British popular cinema imagined and constructed femininity in this era of rapid social and cultural change. She draws together sources ranging from official reports to film reviews, with case studies of films across genres, including "The Perfect Woman", "Young Wives' Tale", "The Weak and the Wicked" and "A Town Like Alice", to show how new ideas and understandings of femininity were seeping into the cultural imagery at this time. She demonstrates how such films expressed proto-feminist ideas and how they ultimately explored new forms of femininity in a manner that has not until now been recognised.
A rich account that combines media-industry history and cultural studies, Their Own Best Creations looks at women writers' contributions to some of the most popular genres of postwar TV: comedy-variety, family sitcom, daytime soap, and suspense anthology. During the 1950s, when the commercial medium of television was still being defined, women writers navigated pressures at work, constructed public personas that reconciled traditional and progressive femininity, and asserted that a woman's point of view was essential to television as an art form. The shows they authored allegorize these professional and personal pressures and articulate a nascent second-wave feminist consciousness. Annie Berke brings to light the long-forgotten and under-studied stories of these women writers and crucially places them in the historical and contemporary record.
This book provides a fresh account of the major cultural and intellectual trends of the United State in the 1910s, a decade characterised by war, the flowering of modernism, the birth of Hollywood, and Progressive interpretations of culture and society. Chapters on fiction and poetry, art and photography, film and vaudeville, and music, theatre, and dance explore these developments, linking detailed commentary with focused case studies of influential texts and events. These range from Tarzan of the Apes to The Birth of a Nation, from the radical modernism of Gertrude Stein and the Provincetown Players to the earliest jazz recordings. A final chapter explores the huge impact of the First World War on cultural understandings of nationalism, citizenship, and propaganda.Key Features*three case studies per chapter featuring key texts, genres, writers and artists*Detailed chronology of 1910s American Culture*Bibliographies for each chapter*Fifteen black and white illustrations
Scholars of film history and feminist studies will appreciate the breadth of work in this volume.
A revealing study of the sensual tensions powering the period's formal and ideological innovations.
First published in 1966, View of Fashion is a collection of articles on fashions shows, parties and people in London, Paris, Italy and New York, including a section looking back to the surprising sportswomen of Victorian and Edwardian times. Lady M.P.s are observed from the Press Gallery of the House of Commons, the Headmistress and the Board of Governors are studied from the School Hall on Speech Day, tennis champions in the Players’ Tearoom at Wimbledon. Fuller figures descend upon Woburn Abbey by helicopter, model girls weather a stormy crossing on the Queen Elizabeth, fancy goods are reviewed at Brighton, costume exhibitions at the Victoria and Albert Museum, corsetry in the River Room at the Savoy. There are profiles of well-known personalities on the fashion scene and a section on men’s fashions and male models. Alison Adburgham’s view of fashion is both accurate and acute; often unexpected, never distorted. It picks out the essential, mocks the meaningless and notes significance in the nuance. It is view with which Haro is in sensitive accord, and which he here brilliantly illustrates with ten full pages and many incidental drawings. This book will be of interest to students of fashion, journalism and social history.
Comprised of 43 innovative contributions, this companion is both an overview of, and intervention into the field of cinema and gender. The essays included here address a variety of geographical contexts, from an analysis of cinema. Islam and women and television under Eastern European socialism, to female audience reception in Nigeria, to changing class and race norms in Bollywood dance sequences. A special focus is on women directors in a global context that includes films and filmmakers from Asia, Africa, Australia, Europe, North and South America. The collection also offers a solid overview of feminist contributions to thinking on genre from the "chick flick" to the action or Western film, to film noir and the slasher. Readers will find contributions on a variety of approaches to spectatorship, reception studies and fandom, as well as transnational approaches to star studies and essays addressing the relationship between feminist film theory and new media. Other topics include queer and trans* cinema, eco-cinema and the post-human. Finally, readers interested in the history of film will find essays addressing the methodological dimensions of feminist film history, essays on silent and studio era women in film, and histories of female filmmakers in a variety of non-Western contexts.
This authoritative collection of introductory and specialized readings explores the rich and innovative history of this period in American cinema. Spanning an essential range of subjects from the early 1900s Nickelodeon to the decline of the studio system in the 1960s, it combines a broad historical context with careful readings of individual films. Charts the rise of film in early twentieth-century America from its origins to 1960, exploring mainstream trends and developments, along with topics often relegated to the margins of standard film histories Covers diverse issues ranging from silent film and its iconic figures such as Charlie Chaplin, to the coming of sound and the rise of film genres, studio moguls, and, later, the Production Code and Cold War Blacklist Designed with both students and scholars in mind: each section opens with an historical overview and includes chapters that provide close, careful readings of individual films clustered around specific topics Accessibly structured by historical period, offering valuable cultural, social, and political contexts Contains careful, close analysis of key filmmakers and films from the era including D.W. Griffith, Charles Chaplin, Buster Keaton, Erich von Stroheim, Cecil B. DeMille, Don Juan, The Jazz Singer, I Am a Fugitive from a Chain Gang, Scarface, Red Dust, Glorifying the American Girl, Meet Me in St. Louis, Citizen Kane, Bambi, Frank Capra's Why We Fightseries, The Strange Love of Martha Ivers, Rebel Without a Cause, Force of Evil, and selected American avant-garde and underground films, among many others. Additional online resources such as sample syllabi, which include suggested readings and filmographies for both general specialized courses, will be available online. May be used alongside American Film History: Selected Readings, 1960 to the Present, to provide an authoritative study of American cinema through the new millennium