Cantitate/Preț
Produs
Total produse
Vezi coșul
A Woman's View de Jeanine Basinger

A Woman's View

Autor Jeanine Basinger
en Limba Engleză Paperback – 23 iun 1995

Recomandăm această lucrare ca o resursă esențială de referință profesională și studiu la nivel de licență sau master pentru facultățile de film, studii culturale și sociologie. În A Woman's View, Jeanine Basinger deconstruiește mecanismele „filmului pentru femei” din epoca de aur a Hollywood-ului (anii '30-'50), dezvăluind un paradox fascinant: deși aceste pelicule promovau oficial valorile domestice ale căsătoriei și maternității, ele ofereau spectatorilor zeci de minute de fantezii eliberatoare. Suntem de părere că rigoarea cu care autoarea analizează interpretările unor actrițe precum Bette Davis sau Joan Crawford transformă acest volum dintr-o simplă istorie a cinematografiei într-un studiu profund despre rezistența culturală. Spre deosebire de Complicated Women de Mick Lasalle, care se concentrează strict pe epoca pre-Code și pe libertatea sexuală explicită de dinainte de 1934, lucrarea lui Jeanine Basinger extinde analiza asupra deceniilor următoare, sub regimul cenzurii, demonstrând cum subversiunea a continuat să existe prin modă, decoruri și atitudini sfidătoare. De asemenea, volumul este comparabil cu All that Hollywood Allows de Jackie Byars în rigurozitate, dar actualizat pentru a include o perspectivă mai largă asupra genurilor cinematografice, trecând dincolo de melodrama anilor '50 pentru a include musicalul și filmul noir. Stilul narativ este fluid și antrenant, evitând jargonul excesiv fără a sacrifica profunzimea academică, oferind o perspectivă nuanțată asupra modului în care industria cinematografică a „negociat” identitatea feminină între conformism și revoltă.

Citește tot Restrânge

Preț: 20620 lei

Puncte Express: 309

Carte disponibilă

Livrare economică 14-28 mai

 Adaugă în coș

Wish list
Gift list
Am citit!
Adaugă în listă

Specificații

ISBN-13: 9780819562913
ISBN-10: 0819562912
Pagini: 542
Dimensiuni: 156 x 234 x 38 mm
Greutate: 0.76 kg
Ediția:Text mare
Editura: Wesleyan University Press

De ce să citești această carte

Această carte se adresează studenților la cinematografie și pasionaților de istorie socială care doresc să înțeleagă cum funcționa propaganda de gen la Hollywood. Cititorul câștigă o metodă critică de a privi filmele clasice, descoperind cum subtextul subversiv reușea să submineze finalurile conservatoare impuse de epocă. Este o analiză captivantă despre puterea imaginii de a oferi libertate, chiar și într-un sistem restrictiv.

Textul de pe ultima copertă

Now, Voyager, Stella Dallas, Leave Her to Heaven, Imitation of Life, Mildred Pierce, Gilda...these are only a few of the hundreds of "women's films" that poured out of Hollywood during the thirties, forties, and fifties - films that not only delivered on their inherent promise to entertain but also opened a door to the Other, the Something Else, that audiences came to the theater yearning to see and feel, if only for a couple of hours. Films widely disparate in subject, sentiment, and technique, they nonetheless shared one dual purpose: to provide the audience (of women, primarily) with temporary liberation into a screen dream - of romance, sexuality, luxury, suffering, or even wickedness - and then send it home reminded of, reassured by, and resigned to the fact that no matter what else she might do, a woman's most important job was...to be a woman. Now, with boundless knowledge and infectious enthusiasm, Jeanine Basinger illuminates the various surprising and subversive ways in which women's films delivered their message. Basinger examines dozens of films, exploring the seemingly intractable contradictions at the convoluted heart of the woman's genre - among them, the dilemma of the strong and glamorous woman who cedes her power when she feels it threatening her personal happiness, and the self-abnegating woman whose selflessness is not always as "noble" as it appears. Basinger looks at the stars who played these women (Kay Francis, Barbara Stanwyck, Joan Crawford, Bette Davis, Rosalind Russell, Susan Hayward, Myrna Loy, and a host of others) and helps us understand the qualities - the right off-screen personae, the right on-screen attitudes, the right faces, the right figures forcarrying the right clothes - that made them personify the woman's film and equipped them to make believable drama or comedy out of the crackpot plots, the conflicting ideas, and the exaggerations of real behavior that characterize these movies. In each of the films the author discusses - whether melodrama, screwball comedy, musical, film noir, western, or biopic - a woman occupies the center of her particular universe. Her story - in its endless variations of rags to riches, boy meets girl, battle of the sexes, mother love, doomed romance - inevitably sends a highly potent mixed message: Yes, you women belong in your "proper place" (that is, content with the Big Three of the woman's film world - men, marriage, and motherhood), but meanwhile, and paradoxically, see what fun, glamour, and power you can enjoy along the way. A Woman's View deepens our understanding of the times and circumstances and attitudes out of which these movies were created. It is, besides, as compelling and satisfying an entertainment as the best of the wonderfully idiosyncratic movies it brings into new focus.

Descriere

A lively portrayal of Hollywood's contradictory message of conformity and riotous freedom in films about women's lives and loves. In this highly readable and entertaining book, Jeanine Basinger shows how the "woman's film" of the 30s, 40s, and 50s sent a potent mixed message to millions of female moviegoers. At the same time that such films exhorted women to stick to their "proper" realm of men, marriage, and motherhood, they portrayed — usually with relish — strong women playing out liberating fantasies of power, romance, sexuality, luxury, even wickedness. Never mind that the celluloid personas of Bette Davis, Myrna Loy, Katharine Hepburn, Joan Crawford, or Rita Hayworth see their folly and return to their man or lament his loss in the last five minutes of the picture; for the first eighty-five minutes the audience watched as these characters "wore great clothes, sat on great furniture, loved bad men, had lots of sex, told the world off for restricting them, even gave their children away." Basinger examines dozens of films — whether melodrama, screwball comedy, musical, film noir, western, or biopic — to make a persuasive case that the woman's film was a rich, complicated, and subversive genre that recognized and addressed, if covertly, the problems of women.