Gender Meets Genre in Postwar Cinemas
Publication Year: 2012
Published by: University of Illinois Press
Title Page, Copyright, Dedication
Genre and gender representation, two key areas of Film Studies, have generated challenging theories and debate. However, bar some notable exceptions (Williams 2000; Clover 1992), these concepts rarely intersect. Studies of gender representation and sexed...
PART ONE. REFIGURING GENRE AND GENDER
1 The Genius of Genre and Ingenuity of Women
Every reference to the cinema director as author carries the weight of several centuries of literary and art historical criticism. This very weight makes it difficult to argue against authorship in motion-picture industry history. Nevertheless, it is my contention...
2 No Fixed Address: The Women’s Picture from Outrage to Blue Steel
The women’s picture has played a major role in the development of feminist film criticism, partly in response to a certain tendency in 1970s feminist film theory to prioritize the “male spectator,” and partly as a strategic move to reassess a critically devalued and neglected...
3 Circulating Emotion: Race, Gender, and Genre in Crash
Crash (Paul Haggis, 2005) follows a range of diverse but intersecting characters who, in their entirety, are meant to represent a social landscape: modern American urban existence. Through an ensemble cast and a multi-story structure, the film depicts a circuitous...
4 100% Pure Adrenaline: Gender and Generic Surface in Point Break
The platform for this chapter is the contention that we experience Point Break (1991) as generic surface. Despite critical efforts to construct the film as a creative play with masculinity or with the action genre, the film remains culturally and politically ambivalent. As is...
PART TWO. POSTFEMINISM AND GENERIC RE-INVENTIONS
5 Troubling Genre/Reconstructing Gender
In Film/Genre, Rick Altman notes the irony of “producers . . . actively destroying genres by creating new cycles,” while film scholars “are regularly trying to fold the cyclical differences back into genre, thus authorizing continued use of a familiar, broad-based, sanctioned...
6 Bodies and Genres in Transition: Girlfight and Real Women Have Curves
Genre cinema depends on an articulation of gendered types and a presentation of bodies defined by gender. The richness and pleasure of genre films has much to do with their iteration and occasional modification of these gendered types. But most genre fictions also assume a central male subject, requiring considerable effort to position...
7 Private Femininity, Public Femininity: Tactical Aesthetics in the Costume Film
As early as the 1930s, critics categorized the costume film as “feminine,” because it focused on the emotional subject of love in contrast to historical bio-pics that were deemed “masculine” by tending to political topics (Robe 2009, 71). While the distinctions between...
8 Generic Gleaning: Agnès Varda, Documentary, and the Art of Salvage
In several of her films, Agnès Varda is concerned with the homeless. In Vagabond (Sans toit ne loi, 1985), for instance, she depicts a few weeks in the life of a young female vagrant as she wanders through the French countryside in winter—camping out, scavenging...
PART THREE. GENDER AESTHETICS IN "MALE" GENRES
9 It’s a Mann’s World?
The director Michael Mann generally works within the genre of the crime film. Within this genre, there is typically a focus placed on the relations among men, with very little emphasis on female characters. Susan White (2001), referring to a 1947 Anthony Mann...
10 Up Close and Personal: Faces and Names in Casualties of War
For obvious reasons, war films—especially those centered on the battlefield—are likely to be unbalanced in terms of their treatments of gender. The absence of a significant female presence in American films about wars fought overseas is due in part to the fact that their far-flung battlefields and home front are geographically split apart...
11 Gender Hyperbole and the Uncanny in the Horror Film: The Shining
At its simplest, genre is a play of the familiar and the different. Gender poses similarities and differences between men and women. The uncanny, in all its renditions, flickers between familiarity and strangeness. Gender, genre, and the uncanny in various ways...
PART FOUR. GENRE AND GENDER TRANSNATIONAL
12 Emotion, Subjectivity, and the Limits of Desire: Melodrama and Modernity in Bombay Cinema, 1940s-
Let us begin with three scenarios of extremity, depictions of limit situations that concern ultimate questions of life, love, death, and meaning: A woman is seated on the floor, with her head on her arm on the bed against which she leans, staring out into space, while a blind singer outside sings of separation and deep...
13 Woman, Generic Aesthetics, and the Vernacular: Huangmei Opera Films from China to Hong Kong
In 1963, an article entitled “The Wondrous Tale of The Love Eterne & the Miracle of a Film Industry” in Southern Screen, the trade journal of Hong Kong-based Shaw Brothers, captured the phenomenal reception of the studio’s Huangmei opera film, The Love Eterne...
Chapter 14 Homoeroticism Contained: Gender and Sexual Translation in John Woo’s Migration to Hollywood
This essay compares John Woo’s Hong Kong and Hollywood outputs in order to scrutinize the differing representations of gender they offer in relation to the different generic configurations at work in each production context. I aim to pinpoint which aspects of these representations have passed the test of cultural translatability and which have...
PART FIVE. GENERIC “TRANS-INGS”: BETWEEN GENRES, GENDERS, AND SEXUALITIES
15 Trash Comes Home: Gender/Genre Subversion in the Films of John Waters
John Waters’s career trajectory is commonly described as a process of assimilation. His early films earned him prominence as a nonconformist, and he seemed to revel in being perceived as a social misfit. When the controversial director published two books in the...
16 Femme Fatale or Lesbian Femme: Bound in Sexual Différance
In its black-and-white opening title sequence with stark lights and deep shadows, foreboding music, and a moving camera that waves from extreme close-up obscurity to distanced readability (of the title), Bound (Wachowski Brothers, 1996) immediately...
17 “The Gay Cowboy Movie”: Queer Masculinity on Brokeback Mountain
Before Brokeback Mountain opened theatrically in December 2005, commercial prospects were uncertain for “this ostensible gay Western,” as Todd McCarthy (2005) called it when reviewing...
Page Count: 288
Publication Year: 2012
OCLC Number: 809032437
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