Framed

Orit Kamir is Professor of Law and Gender at Hebrew University in Jerusalem and a Visiting Professor at the University of Michigan Law School. She is co-director of the Israeli Center for Human Dignity and the author of Every Breath You Take: Stalking Narratives and the Law; Israeli Honor and Dignity: Social Norms, Gender Politics, and the Law (in Hebrew); and Feminism, Rights, and the Law (also in Hebrew).

• Acknowledgments ixPreface xiIntroduction: Conceptual Framework 1Part I. Feminist Critique of Law Films that Honor-Judge Women 1. Rashomon (Japan, 1950): Construction of Woman as Guilty Object 432. Pandora’s Box (Germany, 1928): Exorcising Pandora-Lilith in the Weimar Republic 733. Blackmail (England, 1929): Hitchcock’s Sound and the New Woman’s Guilty Silence 904. Anatomy of a Murder (U.S.A., 1959): Hollywood’s Hero-Lawyer Revives the Unwritten Law 112Part II. Cinematic Women Demanding JudgmentFrom Liberal Attitudes to Radical Feminist Jurisprudence and the Ethics of Care 5. Adam’s Rib (U.S.A., 1949): Hollywood’s Female Lawyer and Family Values (Read with Disclosure and Legally Blonde) 1356. Nuts (U.S.A., 1987): The Mad Woman’s Day in Court 1607. Death and the Maiden (U.S.A., 1994): Challenging Trauma with Feminine Judgment and Justice (Read with The Piano) 185Part III. Women Resisting and Subverting JudgmentBeyond Conventional Feminist Jurisprudence 8. A Question of Silence (Netherlands, 1982): Feminist Community as Revolution (Read against “A Jury of Her Peers”) 2179. Set it Off (U.S.A., 1996): Minority Women at the Point of No Return 24310. High Heels (Spain, 1991): Almodovar’s Postmodern Transgression 264Notes 285Bibliography 299Index 313

“Framed is groundbreaking. It pushes law-and-film scholarship forward in significant ways. The question at its core is not how various groups are represented but rather the more difficult one of how we as legal or cinematic audiences are led to judge these groups. Orit Kamir doesn’t simply ‘do’ an analysis of a group of films. Rather, she uses a set of films as a vehicle to explore the mechanisms of judgment.”-Rebecca Johnson, author of Taxing Choices: The Intersection of Class, Gender, Parenthood, and the Law “In this fascinating book, Orit Kamir displays an original method for reading law and film that illuminates both a remarkable set of films from around the world and many of our deepest assumptions about law. All this is done from a powerful feministic perspective. I know nothing like it.”-James Boyd White, author of The Edge of Meaning