American Postfeminist Cinema

Women, Romance and Contemporary Culture

Inbunden, Engelska, 2014

Av Michele Schreiber, Emory University) Schreiber, Michele (Associate Professor of Film and Media Studies

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In light of their tremendous gains in the political and professional sphere, and their ever expanding options, why is it that most contemporary American films aimed at women still focus almost exclusively on their pursuit of a heterosexual romantic relationship? American Postfeminist Cinema explores this question and is the first book to examine the symbiotic relationship between heterosexual romance and postfeminist culture. The book argues that since 1980, postfeminism’s most salient tensions and anxieties have been reflected and negotiated in the American romance film. Case studies of a broad range of Hollywood and independent films reveal how the postfeminist romance cycle is intertwined with contemporary women's ambivalence and broader cultural anxieties about women's changing social and political status.

Produktinformation

Utgivningsdatum2014-03-11
Mått156 x 234 x 17 mm
Vikt446 g
FormatInbunden
SpråkEngelska
SerieTraditions in American Cinema
Antal sidor208
FörlagEdinburgh University Press
ISBN9780748693368

Tillhör följande kategorier

Film inom Kultur
Kulturvetenskap inom Samhalle och politik

Michele Schreiber is Associate Professor of Film and Media Studies at Emory University. She is the author of American Postfeminist Cinema: Women, Romance and Contemporary Culture (Edinburgh University Press, 2014) and articles on postfeminist media and contemporary independent and Hollywood filmmakers. Her work has appeared in Journal of Film and Video and anthologies including American Independent Cinema: Indie, Indiewood and Beyond, Feminism at the Movies and Reclaiming the Archive: Feminism and Film History.

Acknowledgements; List of Illustrations; Introduction: Women, Postfeminism and Romance; 1. Both Glad and Sorry: Romance Cycles and Women’s Politics; 2. Pragmatism vs. Sentimentality: Amelioration in the Postfeminist Cycle; 3. Past vs. Present: Temporality in the Postfeminist Cycle; 4. Sexy vs. Funny: Sexuality in the Postfeminist Cycle; 5. Independence vs. Dependence: Economics in the Postfeminist Cycle; Conclusion: Beginnings vs. Endings: The Future of the Postfeminist Cycle; Selected Bibliography

Schreiber’s text provides a valuable insight into the continued influence of postfeminist anxieties surrounding heterosexual romance on contemporary American cinema. Her framework of the conventions of the ‘postfeminist romance cycle’ offers a useful method for analysis that could be expanded upon in further research projects. The text will be of interest to scholars in the fields of gender and sexuality, film and romance, in addition to cultural historians and researchers of American Studies in general.