Smart Chicks on Screen: Representing Women's Intellect in by Laura Mattoon D'Amore
By Laura Mattoon D'Amore
Whereas ladies have lengthy been featured in top roles in movie and tv, the highbrow depictions of woman characters in those mediums are out of line with fact. ladies stay marginalized for his or her offerings, overshadowed via males, and judged by means of their our bodies. actually, the intelligence of ladies is never the focal point of tv or movie narratives, and at the infrequent celebration whilst shrewdpermanent girls are showcased, their portrayals are undermined via socially awkward habit or their intimate relationships are doomed to perpetual failure. whereas Hollywood claims to provide a unique, extra advanced examine girls, those video clips and indicates usually simply repackage outdated personality varieties that also downplay the intelligence and savvy of women.
In shrewdpermanent Chicks on reveal: Representing Women’s mind in movie and tv, Laura Mattoon D’Amore brings jointly a magnificent array of scholarship that interrogates the portrayal of women on tv and in videos. one of the questions that the amount seeks to respond to are: In what methods are ladies in movie and tv restricted, or ostracized, by way of their intelligence? How do lady roles toughen criteria of attractiveness, submissiveness, and silence over mind, challenge fixing, and management? Are there ladies in movie and tv who're clever with out additionally being objectified?
The 13 essays through foreign, interdisciplinary students supply quite a lot of views, studying the connections—and disconnections—between attractiveness and brains in movie and tv. shrewdpermanent Chicks on reveal may be of curiosity to students not just of movie and tv yet of women’s reviews, reception reports, and cultural heritage, as well.
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Extra info for Smart Chicks on Screen: Representing Women's Intellect in Film and Television (Film and History)
Curtis, as Joe, is a man, but because he is in disguise as a woman he is unable to act, unable to fully assert himself. This points to changes in postwar masculinity, the accompanying fears of eroded masculine vitality, and changing power relationships between women and men. He is able to relate to Sugar through his femininity, and the battle of the sexes is resolved through female friendship. The relationship between Joe and Sugar can also be understood as protofeminist, with its sexual innuendo (both heterosexual and homosexual), and shared agency.
NOTES 1. P. Putnam’s Sons, 1982), 147; “Oscar Winners Get News of Victory in Small New York Night Club,” Los Angeles Times, 30 March 1951, 2(N). 2. Milly S. Barranger, Unfriendly Witnesses: Gender, Theater, and Film in the McCarthy Era (Carbondale: Southern Illinois University Press, 2008), 9–33; “Obituaries Judy Holliday Dies; Played Dumb; IQ 172,” Boston Globe, 8 June 1965, 35(N); Holtzman, Judy Holliday, 9–24, 298. 3. Natalia Ilyin, Blonde like Me: The Roots of the Blonde Myth in Our Culture (New York: Simon & Schuster, 2000), 30–50, 87–98, 141–56; Ellen Tremper, I’m No Angel: The Blonde in Film and Fiction (Charlottesville: University of Virginia Press, 2006), 10–13, 116–36, 147–82, 218–19; Joanna Pitman, On Blondes (New York: Bloomsbury, 2003).
He saw the era as particularly photogenic, creating good background images in which he could tell a farcical story. 11 He wanted to satirize gangster films, and got the plot idea for men joining an all-female band from a 1935 French musical, Fanfare of Love. 12 The use of the all-women band as backdrop for the plot was foremost an aesthetic decision. In his production notes, he had extensive ideas for using the allgirl band for publicity events. Wilder was masterful at publicity, having concocted the infamous Monroe photograph over the subway grate, in which her skirt flares up, for The Seven Year Itch, a few year earlier.