Gender Meets Genre in Postwar Cinemas

Christine Gledhill is a professor of media studies at the University of Sunderland. She is the author or editor of numerous books, including Nationalising Femininity: Culture, Sexuality and British Cinema in the Second World War.

• Christine Gledhill / Introduction Part One: Refiguring Genre and Gender Jane Gaines / The Genius of Genre and Ingenuity of Women; Pam Cook / No Fixed Address: the Women's Picture from Outrage to Blue Steel; Deidre Pribram / Circulating Emotion: Race, Gender and Genre in Crash; Luke Collins / '100 % Pure Adrenaline:' Gender and Generic Surface in Point Break Part Two: Postfeminism and Generic Re-inventions E. Ann Kaplan / Troubling Genre/Reconstructing Gender; Yvonne Tasker / Bodies and Genres in Transition: Girlfight and Real Women Have Curves; Samiha Matin / Private Femininity, Public Femininity: The Tactical Aesthetics in the Costume Film; Lucy Fischer / Generic Gleaning: Agnes Varda, Documentary and the Art of Salvage Part Three: Gender Aesthetics in "Male" Genres Adam Segal / It's a Mann's World?; Deborah Thomas / Up Close and Personal: Faces and Names in Casualties of War; Katie Model / Gender Hyperbole and the Uncanny in the Horror Film: The Shining Part Four: Genre and Gender Transnational Ira Bhaskar / Subjectivity and the Limits of Desire: Melodrama and Modernity in 1940s-50s Bombay Cinema; Xiangang Chen / Woman, Generic Aesthetics and the Vernacular: Huangmei Opera Films from China to Hong Kong; Vicente Rodriguez Ortega / Homoeroticism Contained: Gender and Sexual Translation in John Woo's migration to Hollywood Part Five: Generic Trans-ings: Between Genres, Genders and Sexualities Derek Kane-Meddock / Trash Comes Home: Gender/Genre Subversion in the Films of John Waters; Chris Straayer / Femme Fatale or Lesbian Femme: Bound in Sexual Difference; Steven Cohan / The Gay Cowboy Movie: Queer Masculinity on Brokeback Mountain Bibliography

"A superb collection of essays representing an exceptionally high order of film scholarship: thoughtful, insightful, and well-written. With provocative insights and stellar contributors, the volume will be of great interest to students and scholars of cinema studies."--Virginia Wright Wexman, coeditor of Women and Experimental Filmmaking "These essays suggest that the dual conceits of genre and gender are no longer viable markers for how viewers watch films, and the traditional modes of identification have to be deconstructed in order to recognize this kind of spectatorial fluidity. Overall, this is an intriguing addition to the endless historiographical conversations that tie together its two subjects."--Film Matters