By Jeanine Basinger
During this hugely readable and wonderful booklet, Jeanine Basinger indicates how the "woman's film" of the 30s, 40s, and 50s despatched a effective combined message to thousands of woman moviegoers. even as that such motion pictures exhorted ladies to stay to their "proper" realm of guys, marriage, and motherhood, they portrayed -- often with savor -- powerful girls taking part in out freeing fantasies of strength, romance, sexuality, luxurious, even wickedness.
Never brain that the celluloid personas of Bette Davis, Myrna Loy, Katharine Hepburn, Joan Crawford, or Rita Hayworth see their folly and go back to their guy or lament his loss within the final 5 mins of the image; for the 1st eighty-five mins the viewers watched as those characters "wore nice outfits, sat on nice furnishings, enjoyed undesirable males, had plenty of intercourse, informed the area off for limiting them, even gave their kids away."
Basinger examines dozens of movies -- no matter if melodrama, screwball comedy, musical, movie noir, western, or biopic -- to make a persuasive case that the woman's movie used to be a wealthy, complex, and subversive style that well-known and addressed, if covertly, the issues of ladies.
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Additional info for A Woman's View: How Hollywood Spoke to Women, 1930-1960
It is replete with questions, qualiﬁcations, conditional statements, hyperbole, allusion, and it makes reference to a wide range of texts in philosophy, literature, psychoanalysis and feminist theory, to name but four disciplines. In the 1999 Preface to Gender Trouble, Butler directly confronts this issue of her writing style. Style, she suggests, is a complex issue. First, the styles that are available for use are not solely up to the author. Second, language (including grammar and style) is not ‘politically neutral’ (GT: xviii).
When Butler turns her attention to Beauvoir and Irigaray, what concerns her is less how they theorize gender (masculinity and femininity) than how they deal with sex difference. Both Beauvoir and Irigaray can, according to Butler, be seen as offering accounts exploring the construction of asymmetrical relations between men Rethinking Sex and Gender 31 and women; or, in a different lexicon, how male domination is produced. In The Second Sex, Beauvoir thus explores how man is positioned in Western thought as the subject: independent, capable of transcending his body, and able to exercise freedom.
There is no ideal reciprocal relation here. The irony is, however, that it is the slave who gains most from the relation with his master, for having experienced the fear of death, he has experienced full consciousness of his own existence. Plus, by being compelled to labour on the objective world, he is able to transform it, thereby enabling him to objectify his own identity. No longer engaged merely in consumption, the desire of the Bondsman is satisﬁed rather through ‘the re-creation of natural objects into reﬂections of their maker’ (SD: 57).