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Dames in the Driver's Seat
With its focus on dangerous, determined femmes fatales, hardboiled detectives, and crimes that almost-but-never-quite succeed, film noir has long been popular with moviegoers and film critics alike. Film noir was a staple of classical Hollywood filmmaking during the years 1941-1958 and has enjoyed a resurgence in popularity since the 1990s. Dames in the Driver's Seat offers new views of both classical-era and contemporary noirs through the lenses of gender, class, and race. Jans Wager analyzes how changes in film noir's representation of women's and men's roles, class status, and racial identities mirror changes in a culture that is now often referred to as postmodern and postfeminist. Follo...
The Hallmark Channel
Originally known as a brand for greeting cards, Hallmark has seen a surge in popularity since the early 2010s for its made-for-TV movies and television channels: the Hallmark Channel and its spinoffs, Hallmark Movie Channel (now Hallmark Movies & Mysteries) and Hallmark Drama. Hallmark's brand of comforting, often sentimental content includes standalone movies, period and contemporary television series, and mystery film series that center on strong, intuitive female leads. By creating reliable and consistent content, Hallmark offers people a calming retreat from the real world. This collection of new essays strives to fill the void in academic attention surrounding Hallmark. From the plethora of Christmas movies that are released each year to the successful faith-based scripted programming and popular cozy mysteries that air every week, there is a wealth of material to be explored. Specifically, this book explores the network's problematic relationship with race, the dominance of Christianity and heteronormativity, the significance placed on nostalgia, and the hiring and re-hiring of a group of women who thrived as child stars.
Motherhood Misconceived
As celebrities sporting "baby bumps," politicians, Olympic athletes, and talk show guests, mothers are ubiquitous throughout U.S. media and popular culture. Like lightning rods, these high-profile mothers attract accolades and judgments associated with ideals of female sexuality, gender roles, and constructions of contemporary families. Motherhood Misconceived explores this widespread cultural fascination with motherhood through analyses of mothers in contemporary U.S. film, including both mainstream and independent cinematic representations. The contributors draw on a variety of critical approaches to consider the spectacle of pregnancy; mother-daughter relationships; mothers as predators, narcissists, and absent victims; and the ways in which cultural anxieties are displaced and projected onto marginalized mothers in films such as Fargo; Transamerica; Gas, Food, Lodging; Ordinary People; and Scream. Ideal for women's studies or film studies classes, Motherhood Misconceived will help students contextualize current debates about motherhood as they play out in popular and independent film.
Death and the Moving Image
Exploring gender, race, nation and narration, this groundbreaking study isolates how mainstream cinema works to bestow value upon certain lives and specific socio-cultural identities in a hierarchical and partisan way. Dedicated to the popular, to the pol
The Maternal Imagination of Film and Film Theory
This book challenges common sense understandings of the unconscious effects of cinema and visual culture. It explores the castrating power of the early modern witch and the historical belief that pregnant women could manipulate and distort body image as figurative analogies for feminist theories of objectification and the male gaze. Through developing this history as an impure but lively analogy, this book serves as a provocation against the dominant imagining of objectification. It offers innovative analyses of a wide-ranging selection of films and topics including Joyce Wieland’s Water Sark (1964) and its resonance with the works of John Cage and Stan Brakhage; the documentary Histoires d’A (History of Abortion, 1973), which contributed to the successful legalisation of abortion in France; the Hong Kong horror film Dumplings (Jiaozi, 餃子 2004), where foetal cannibalism serves up an image of censorship; and the dual productions The Book of Mary (Le livre de Marie) and Hail Mary (Je vous salue, Marie, 1985) by Anne-Marie Miéville and Jean-Luc Godard that figure a self-reproducing virgin who hears herself while remaining a virgin, unseen.
Postfeminism and Paternity in Contemporary US Film
This book interrogates representations of fatherhood across the spectrum of popular U.S. film of the early twenty-first century. It situates them in relation to postfeminist discourse, identifying and discussing dominant paradigms and tropes that emerge from the tendency of popular cinema to configure ideal masculinity in paternal terms. It analyses postfeminist fatherhood across a range of genres including historical epics, war films, westerns, bromantic comedies, male melodramas, action films, family comedies, and others. It also explores recurring themes and intersections such as the rejuvenation of aging masculinities through fatherhood, the paternalized recuperation of immature adult masculinities, the relationship between fatherhood in film and 9/11 culture, post-racial discourse in representations of fatherhood, and historically located formations of fatherhood. It is the first book length study to explore the relationship between fatherhood and postfeminism in popular cinema.
Maternal Modernism
Drawing on the figure and discourses of the Victorian fin-de-siècle New Woman, this book examines women writers who struggled with conservative, patriarchal ideologies of motherhood in novels, periodicals and life writings of the long modernist period. It shows how these writers challenged, resisted, adapted and negotiated traditional ideas with their own versions of new motherhood, with needs for identities and experiences beyond maternity. Tracing the period from the end of the nineteenth century through the twentieth, this study explores how some of the numerous elements and forces we identify with modernism are manifested in equally diverse and often competing representations of mothers...
From Happy Homemaker to Desperate Housewives
‘From Happy Homemaker to Desperate Housewives: Motherhood and Popular Television’ is a comprehensive and accessible introduction to key debates concerning the representations of motherhood, motherwork and the maternal role in contemporary television programming. The volume looks at the construction of motherhood in the ostensibly female genre of soap opera; the mother as housewife in the domestic situation comedy; deviant, desiring and delinquent motherwork in the teen drama; the single working mother in the contemporary dramedy; the fragile and failing mother of reality parenting television; the serene and selfless celebrity motherhood profile; and the new mother in reality pregnancy and childbirth television. ‘Motherhood and Popular Television’ examines the depiction of motherhood in this wide range of popular television genres in order to illustrate how the maternal role is being constructed, circulated and interrogated in contemporary factual and fictional programming, paying particular attention to the ways in which such images can be seen to challenge or conform to the ideal image of the ‘good’ mother that dominates the contemporary cultural landscape.
Generation Multiplex
Generation Multiplex (2002) was the first comprehensive study of the representation of teenagers in American cinema since David Considine's Cinema of Adolescence in 1985. This updated and expanded edition reaffirms the idea that films about youth constitute a legitimate genre worthy of study on its own terms. Identifying four distinct subgenres—school, delinquency, horror, and romance—Timothy Shary explores hundreds of representative films while offering in-depth discussion of movies that constitute key moments in the genre, including Fast Times at Ridgemont High, A Nightmare on Elm Street, The Breakfast Club, Say Anything . . . , Boyz N the Hood, Scream, American Pie, Napoleon Dynamite,...
Monstrous Children and Childish Monsters
Perhaps because of the wisdom received from our Romantic forbears about the purity of the child, depictions of children as monsters have held a tremendous fascination for film audiences for decades. Numerous social factors have influenced the popularity and longevity of the monster-child trope but its appeal is also rooted in the dual concepts of the child-like (innocent, angelic) and the childish (selfish, mischievous). This collection of fresh essays discusses the representation of monstrous children in popular cinema since the 1950s, with a focus on the relationship between monstrosity and "childness," a term whose implications the contributors explore.
