Abstract
Miss Charlotte Vale …
This is a preview of subscription content, log in via an institution to check access.
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
Preview
Unable to display preview. Download preview PDF.
Notes
Lauren Berlant, The Female Complaint: The Unfinished Business of Sentimentality in American Culture (Durham, NC: Duke University Press, 2008), 186.
Joan Riviere, “Womanliness as a Masquerade,” in Formations of Fantasy, ed. Victor Burgin, James Donald, and Cora Kaplan (London: Methuen, 1986), 35–44.
Mary Ann Doane, Femmes Fatales: Feminism, Film Theory, Psychoanalysis (New York: Routledge, 1991), 38.
Mary Ann Doane, The Desire to Desire: The Woman’s Film of the 1940s (Blooming-ton: Indiana University Press, 1987), 41.
Lea Jacobs’s important treatment, “Now, Voyager. Some Problems of Enunciation and Sexual Difference,” Camera Obscura 7 (1981): 89–104.
M. Lynda Ely, “‘The untold want’: Representation and Transformation, Echoes of Walt Whitman’s Passage to India in Now, Voyager,” Literature/Film Quarterly (January 29, 2001): 43–52.
Patricia White, Uninvited: Classical Hollywood Cinema and Lesbian Representability (Bloomington: Indiana University Press, 1999).
Martin Shingler, “Masquerade or Drag? Bette Davis and the Ambiguities of Gender,” Screen 36, no. 3 (1995).
Brett Farmer, Spectacular Passions: Cinema, Fantasy, Gay Male Spectatorships (Durham, NC: Duke University Press, 2000)
Richard Dyer, Heavenly Bodies: Film Stars and Society (London: BFI, 1986)
Richard Dyer, The Matter of Images: Essays on Representations (New York: Routledge, 1993).
Patricia White, “Hitchcock and Hom(m)osexuality,” in Hitchcock, Past and Future, ed. Richard Allen and Sam Ishii-Gonzales (New York: Routledge, 2004), 221–25.
Robert Lang, Masculine Interests: Homoerotics in Hollywood Film (New York: Columbia University Press, 2002).
Robert B. Ray, in A Certain Tendency of the Hollywood Cinema, 1930–1980 (Princeton, NJ: Princeton University Press, 1985).
Jeanine Basinger, A Woman’s View: How Hollywood Spoke to Women, 1930–1960 (Hanover, CT: Wesleyan University Press, 1993), 20.
Andrea S. Walsh, Women’s Film and Female Experience, 1940–1950 (New York: Praeger, 1984), 23–24.
Molly Haskell, From Reverence to Rape: The Treatment of Women in the Movies, rev. ed. (Chicago: University of Chicago Press, 1987), 31.
Janet McCabe, Feminist Film Studies: Writing the Woman into Cinema (London: Wallflower Press, 2004).
Laura Mulvey, Visual and Other Pleasures, 2nd ed. (Hound-mills, Basingstoke, Hampshire, England: Palgrave Macmillan, 2009).
Thomas Elsaesser, “Tales of Sound and Fury: Observations on the Family Melodrama,” in Home Is Where the Heart Is: Studies in Melodrama and the Woman’s Film, ed. Christine Gledhill (London: BFI, 1987), 43–70.
Jackie Byars, All That Hollywood Allows: Re-reading Gender in 1950s Melodrama (Chapel Hill: University of North Carolina Press, 1991), 14.
Steve Neale, Genre and Hollywood (London: Routledge, 2000).
Robert Lang, American Film Melodrama: Griffith, Vidor, Minnelli (Princeton, NJ: Princeton University Press, 1989), 8.
Linda Williams, “‘Something Else Besides a Mother’: Stella Dallas and the Maternal Melodrama,” in Issues in Feminist Film Criticism, ed. Patricia Erens (Blooming-ton, IN: Indiana University Press, 1990), 137–62.
Carolyn G. Heilbrun, Writing a Woman’s Life (1986; repr., New York: Ballantine, 1989), passim.
Josephine Donovan, After the Fall: The Demeter-Persephone Myth in Wharton, Cather, and Glasgow (University Park: Pennsylvania State University Press, 1989), 3.
Andrew Britton, Katharine Hepburn: Star as Feminist (1984; repr., New York: Continuum, 1995), 156
Judith Mayne, Directed by Dorothy Arzner (Bloomington: Indiana University Press, 1994), 114–22.
Helene P. Foley, The Homeric Hymn to Demeter: Translation, Commentary, and Interpretive Essays (Princeton, NJ: Princeton University Press, 1994).
Tania Modleski’s essay on Notorious in her study The Women Who Knew Too Much: Hitchcock and Feminist Theory, 2nd ed. (New York: Routledge, 2005).
Janine Chasseguet-Smirgel, “Feminine Guilt and the Oedipus-Complex,” in Female Sexuality, ed. Janine Chasseguet-Smirgel (Ann Arbor: University of Michigan Press, 1970), 94–134.
Christine Downing, ed., The Long Journey Home: Re-visioning the Myth of Demeter and Persephone for Our Time (Boston: Shambhala Publications, 1994), 142.
Walter Burkert, Greek Religion (Cambridge, MA: Harvard University Press, 1985).
Mick LaSalle, Complicated Women: Sex and Power in Pre-Code Hollywood (New York: St. Martin’s Griffin, 2001).
E. Ann Kaplan, “The Case of the Missing Mother: Maternal Issues in Vidor’s Stella Dallas.,” in Issues in Feminist Film Criticism, ed. Patricia Erens (Bloomington, IN: Indiana University Press, 1990), 126–62. Citation is from page 127.
Ellen Handler Spitz, Image and Insight: Essays in Psychoanalysis and the Arts (New York: Columbia University Press, 1991), 164.
Jeanine Basinger, The Star Machine (New York: Knopf, 2007).
Amy Jenkins, “The fantasy that is violent women: Making Kick-Ass’s main character female is what gives it a twist,” The Independent, March 31, 2010, http://www.independent.co.uk/opinion/commentators/amy-jenkins-the-fantasy-that-is -violent-women-193l452.html (accessed April 23, 2010).
E. Ann Kaplan, “Introduction to New Edition,” in Women in Film Noir, rev. ed. (1978; repr., London: British Film Institute, 2008), 1.
Angela Martin, “‘Gilda Didn’t Do Any of Those Things You’ve Been Losing Sleep Over!’: The Central Women of 40s Film Noirs,” in Women in Film Noir, ed. E. Ann Kaplan, rev. ed. (1978; repr., London: British Film Institute, 2008), 202–28.
Ed Gallafent, “Black Satin: Fantasy, Murder and the Couple in ‘Gaslight’ and ‘Rebecca’,” Screen 29 (1988): 84–105.
Elizabeth Grosz, “Lesbian Fetishism?” in Emily S. Apter and William Pietz, Fetishism as Cultural Discourse (Ithaca, NY: Cornell University Press, 1993).
Wendy Doniger, The Woman Who Pretended to Be Who She Was: Myths of Self-Imitation (London: Oxford University Press, 2005).
Robin Wood, Hitchcock’s Films Revisited (1989; repr., New York: Columbia University Press, 2002).
Michele Piso, “Mark’s Marnie,” in A Hitchcock Reader, ed. Marshall Deutelbaum and Leland Poague, 2nd ed. (Chichester, UK: Wiley-Blackwell, 2009), 280–94.
Preface to Part II
Virginia Wright Wexman, “The Trauma of Infancy in Roman Polanski’s Rosemary’s Baby” in American Horrors: Essays on the Modern American Horror Film, ed. Gregory A. Waller (Champaign: University of Illinois Press, 1987), 30–44.
Freud’s essay “The Uncanny” is collected in An Infantile Neurosis and Other Works, The Standard Edition of the Complete Psychological Works of Sigmund Freud, trans. James Strachey, in collaboration with Anna Freud, assisted by Alix Strachey and Alan Tyson, 24 vols. (1953–74; repr., London: Hogarth Press and the Institute of Psychoanalysis, 1993), 17:217–56.
Rick Worland, The Horror Film: An Introduction (Maiden, MA: Wiley-Blackwell, 2006), 15.
Robin Wood’s essay “The American Nightmare: Horror in the 70s,” in Hollywood from Vietnam to Reagan … and Beyond, rev. ed. by Robin Wood (New York: Columbia University Press, 2003), 63–85.
Linda Badley, Film, Horror, and the Body Fantastic (Westport, CT: Greenwood Press, 1995), 13.
Crane, Terror and Everyday Life: Singular Moments in the History of the Horror Film (Thousand Oaks, CA: Sage Publications, 1994).
Judith Halberstam, Skin Shows: Gothic Horror and the Technology of Monsters (Durham, NC: Duke University Press, 1995).
Copyright information
© 2011 David Greven
About this chapter
Cite this chapter
Greven, D. (2011). Transformations of the Woman’s Film. In: Representations of Femininity in American Genre Cinema. Palgrave Macmillan, New York. https://doi.org/10.1057/9780230118836_3
Download citation
DOI: https://doi.org/10.1057/9780230118836_3
Publisher Name: Palgrave Macmillan, New York
Print ISBN: 978-1-349-29445-9
Online ISBN: 978-0-230-11883-6
eBook Packages: Palgrave Media & Culture CollectionLiterature, Cultural and Media Studies (R0)