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Full Description
The representation of gender in film remains an intensely debated topic, particularly in academic considerations of US mainstream cinema where it is often perceived as perpetuating rigid, binary views of gender, and reinforcing patriarchal, dominant notions of masculinity and femininity. While previous scholarly discussion has focused on visual or narrative portrayals of gender, this book considers the ways that film sound - music, voice, sound effects and silence - is used to represent gender. Taking a socio-historical approach, Heidi Wilkins investigates a range of popular US genres including screwball comedy, the road movie and chick flicks to explore the ways that film sound can reinforce traditional assumptions about masculinity and femininity, impart ambivalent meanings to them, or even challenge and subvert the notion of gender itself. Case studies include His Girl Friday, Easy Rider and Bridesmaids.
Contents
AcknowledgmentsIntroductionChapter One: Talking Back: Voice in Screwball ComedyChapter Two: All That Jazz: The Diegetic Soundtrack in MelodramaChapter Three: The Alienated Male: Silence and the Soundtrack in New HollywoodChapter Four: Brothers in Arms: Masculinity and the Vietnam War MovieChapter Five: Subversive Sound: Gender, Technology and the Science Fiction BlockbusterChapter Six: Girl Talk: The Postmodern Female Voice in Chick FlicksConclusionBibliography
