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基本説明
Through innovative readings of a dozen movies made between 1928 and 2001 in Europe, Japan, and the United States, Orit Kamir shows that in representing "gender crimes," feature films have constructed a cinematic jurisprudence, training audiences worldwide in patterns of judgment of women (and men) in such situations.
Full Description
Some women attack and harm men who abuse them. Social norms, law, and films all participate in framing these occurrences, guiding us in understanding and judging them. How do social, legal, and cinematic conventions and mechanisms combine to lead us to condemn these women or exonerate them? What is it, exactly, that they teach us to find such women guilty or innocent of, and how do they do so? Through innovative readings of a dozen movies made between 1928 and 2001 in Europe, Japan, and the United States, Orit Kamir shows that in representing "gender crimes," feature films have constructed a cinematic jurisprudence, training audiences worldwide in patterns of judgment of women (and men) in such situations. Offering a novel formulation of the emerging field of law and film, Kamir combines basic legal concepts-murder, rape, provocation, insanity, and self-defense-with narratology, social science methodologies, and film studies.
Framed not only offers a unique study of law and film but also points toward new directions in feminist thought. Shedding light on central feminist themes such as victimization and agency, multiculturalism, and postmodernism, Kamir outlines a feminist cinematic legal critique, a perspective from which to evaluate the "cinematic legalism" that indoctrinates and disciplines audiences around the world. Bringing an original perspective to feminist analysis, she demonstrates that the distinction between honor and dignity has crucial implications for how societies construct women, their social status, and their legal rights. In Framed, she outlines a dignity-oriented, honor-sensitive feminist approach to law and film.
Contents
Acknowledgments ix
Preface xi
Introduction: Conceptual Framework 1
Part I. Feminist Critique of Law Films that Honor-Judge Women
1. Rashomon (Japan, 1950): Construction of Woman as Guilty Object 43
2. Pandora's Box (Germany, 1928): Exorcising Pandora-Lilith in the Weimar Republic 73
3. Blackmail (England, 1929): Hitchcock's Sound and the New Woman's Guilty Silence 90
4. Anatomy of a Murder (U.S.A., 1959): Hollywood's Hero-Lawyer Revives the Unwritten Law 112
Part II. Cinematic Women Demanding Judgment
From Liberal Attitudes to Radical Feminist Jurisprudence and the Ethics of Care
5. Adam's Rib (U.S.A., 1949): Hollywood's Female Lawyer and Family Values (Read with Disclosure and Legally Blonde) 135
6. Nuts (U.S.A., 1987): The Mad Woman's Day in Court 160
7. Death and the Maiden (U.S.A., 1994): Challenging Trauma with Feminine Judgment and Justice (Read with The Piano) 185
Part III. Women Resisting and Subverting Judgment
Beyond Conventional Feminist Jurisprudence
8. A Question of Silence (Netherlands, 1982): Feminist Community as Revolution (Read against "A Jury of Her Peers") 217
9. Set it Off (U.S.A., 1996): Minority Women at the Point of No Return 243
10. High Heels (Spain, 1991): Almodovar's Postmodern Transgression 264
Notes 285
Bibliography 299
Index 313
