SCREEN-L Archives

October 2005, Week 4

SCREEN-L@LISTSERV.UA.EDU

Options: Use Monospaced Font
Show Text Part by Default
Show All Mail Headers

Message: [<< First] [< Prev] [Next >] [Last >>]
Topic: [<< First] [< Prev] [Next >] [Last >>]
Author: [<< First] [< Prev] [Next >] [Last >>]

Print Reply
Subject:
From:
Michael Kackman <[log in to unmask]>
Reply To:
Film and TV Studies Discussion List <[log in to unmask]>
Date:
Tue, 25 Oct 2005 09:14:50 -0500
Content-Type:
text/plain
Parts/Attachments:
text/plain (34 lines)
For gender and melodrama in '50s cinema, Jackie Byars' All That 
Hollywood Allows is a reasonable start.  The really interesting 
question to me, though, is only secondarily about the 1950s.  How and 
why has Julianne Moore become central to these nostalgic reflections 
on containment and nascent feminism?

mk



At 06:45 AM 10/25/2005, you wrote:
>This may be all too obvious, but Betty Friedan's THE FEMININE 
>MYSTIQUE might be a starting point.  Not about film, but the work 
>that defined the "problem that has no name."  Otherwise, check 
>standard references such  as the FILM LITERATURE INDEX, MLA Bibliography, etc.
>
>Don Larsson
>
>
>
>
>I'm planning to teach an extended unit on films such as The 
>Prizewinner of Defiance, Ohio, The Hours, and Far From Heaven.  Does 
>anyone have recommendations for articles or books that would be good 
>companions for the study of gender and film in the 1950s (and 
>somewhat specific to these films)?
>
>Thanks,
>Christina Lane

----
For past messages, visit the Screen-L Archives:
http://bama.ua.edu/archives/screen-l.html

ATOM RSS1 RSS2