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Full Description
In the first extended study into the politics of whiteness inherent within postfeminist cinema, Kendra Marston interrogates representations of melancholic white femininity in contemporary Hollywood cinema, arguing that the 'melancholic white woman' serves as a vehicle through which to explore the excesses of late capitalism and a crisis of faith in the American dream. This figure may be idealised or scapegoated within these films, yet strategic performances of gendered melancholia may produce benefits for white female directors and stars disadvantaged within a patriarchal industry. Examining film genres including the tourist romance, the fantasy film and the psychological thriller, the book also contains case studies of films like The Virgin Suicides, Blue Jasmine, Gone Girl and The Girl on the Train.
Contents
List of Figures
Introduction
Chapter One: The World is Her Oyster: Negotiating Contemporary White Womanhood in Hollywood's Tourist Spaces
Chapter Two: "Hoist the Colours!" Framing Feminism through Charismatic White Leadership in the Fantasy Blockbuster
Chapter Three: Neoliberalism, Female Agency, and Conspicuous Consumption as Tragic Flaw in Woody Allen's Blue Jasmine
Chapter Four: Paranoid Attachments to Suburban Dreams: Pathological Femininity in Gone Girl and The Girl on the Train
Chapter Five: Aristocratic Whiteness, Body Trauma, and the Market Logic of Melancholia in Black Swan
Chapter Six: Sofia Coppola's Melancholic Aesthetic: Vanishing Femininity in an Object-Oriented World
Conclusion
Bibliography
Filmography
