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Full Description
This book focuses specifically on the contribution made by American female filmmakers to popular genre film. It asks: what do women who are engaged creatively with film industries do with genre and what does genre do with them? Through analysis of the films themselves, their reception and the industrial and cultural contexts in which these films were released, the book challenges traditional concepts of film authorship and male/female genre divisions, as well as re-evaluating certain genres as a space worthy of feminist criticism, such as horror cinema, the Western, war film and romantic comedy. It argues that women work within the genericity of audiovisual storytelling not only to "undo" or "subvert" popular formats, but also to draw creatively on their generative force.
Contents
List of Figures
Acknowledgments
Introduction: Impossible Liaisons? Genre and Feminist Film Criticism
1 Subversive Auteur, Subversive Genre
2 Repeat in order to Remake. Diablo Cody and Karyn Kusama's Jennifer's Body
3 Hollywood Transvestite. Kathryn Bigelow's The Hurt Locker
4 Genre in the Margins. Kelly Reichardt's Meek's Cutoff
5 Genre on the Surface. Sofia Coppola's Marie Antoinette
6 What a Woman Wants? Nancy Meyers's The Intern
Afterword: Desperately Seeking Wonder Women
Bibliography
Index