Abstract
In the previous chapters I explored how the films Sylvia (Christine Jeffs, 2003) and Frida (Julie Taymor, 2002) exemplify two innovations in the postfeminist biopic: the re-inflection of historical and feminist constructions of the woman in history, and the use of the conventions of the artist biopic subgenre to represent the life of a creative historical woman. While both films are marked by the contradictions of postfeminist texts, my analysis suggests that feminism is not overtly rejected or a ‘structuring absence’ in these films as suggested by alternative scholarly perspectives on postfeminist culture (Kathleen Karlyn cited in Tasker and Negra, 2007: 4). Rather, a pluralistic version of feminism informs the practice of the filmmakers who produced them. This chapter extends the discussion of the postfeminist biopic to The Hours (Stephen Daldry, 2002), a film about a day in the life of three protagonists: the historical figure Virginia Woolf, and the fictional characters Laura Brown, a 1950s Los Angeles housewife, and Clarissa Vaughan, an editor living in Manhattan in 2001.1
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
Preview
Unable to display preview. Download preview PDF.
Copyright information
© 2013 Bronwyn Polaschek
About this chapter
Cite this chapter
Polaschek, B. (2013). The Hours, Feminisms and Women’s Art. In: The Postfeminist Biopic. Palgrave Macmillan, London. https://doi.org/10.1057/9781137273482_6
Download citation
DOI: https://doi.org/10.1057/9781137273482_6
Publisher Name: Palgrave Macmillan, London
Print ISBN: 978-1-349-44525-7
Online ISBN: 978-1-137-27348-2
eBook Packages: Palgrave Media & Culture CollectionLiterature, Cultural and Media Studies (R0)