Molly Haskell
- Published in print:
- 2019
- Published Online:
- January 2020
- ISBN:
- 9781501736094
- eISBN:
- 9781501736117
- Item type:
- chapter
- Publisher:
- Cornell University Press
- DOI:
- 10.7591/cornell/9781501736094.003.0002
- Subject:
- Film, Television and Radio, Film
In this chapter Molly Haskell revisits her landmark book, From Reverence to Rape, which argued that the star system of the classical studio period offered leading actresses power, autonomy and even a ...
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In this chapter Molly Haskell revisits her landmark book, From Reverence to Rape, which argued that the star system of the classical studio period offered leading actresses power, autonomy and even a subversive feminism that was, ironically, undermined by the freedoms offered by the New Hollywood. In retrospect, however, and with a close consideration of specific films and their interesting, idiosyncratic portrayals, Haskell here considers whether in fact these wayward and searching women, characters unglued and actresses without conventional star personae, can be seen as part of the general sense of rebellion against old norms and social strictures.Less
In this chapter Molly Haskell revisits her landmark book, From Reverence to Rape, which argued that the star system of the classical studio period offered leading actresses power, autonomy and even a subversive feminism that was, ironically, undermined by the freedoms offered by the New Hollywood. In retrospect, however, and with a close consideration of specific films and their interesting, idiosyncratic portrayals, Haskell here considers whether in fact these wayward and searching women, characters unglued and actresses without conventional star personae, can be seen as part of the general sense of rebellion against old norms and social strictures.
Jonathan Kirshner and Jon Lewis (eds)
- Published in print:
- 2019
- Published Online:
- January 2020
- ISBN:
- 9781501736094
- eISBN:
- 9781501736117
- Item type:
- book
- Publisher:
- Cornell University Press
- DOI:
- 10.7591/cornell/9781501736094.001.0001
- Subject:
- Film, Television and Radio, Film
The “New Hollywood” that emerged in the late sixties is now widely recognized as an era of remarkable filmmaking, when directors enjoyed a unique autonomy to craft ambitious, introspective movies ...
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The “New Hollywood” that emerged in the late sixties is now widely recognized as an era of remarkable filmmaking, when directors enjoyed a unique autonomy to craft ambitious, introspective movies that evinced a cinematic world of hard choices, complex interpersonal relationships, compromised heroes, and uncertain outcomes. The New Hollywood Revisited brings together a remarkable collection of authors (some of whom wrote about the New Hollywood as it unfolded), to revisit this unique era in American cinema (circa 1967-1976). It was a decade in which a number of extraordinary factors – including the end of a half-century-old censorship regime and economic and demographic changes to the American film audience – converged and created a new type of commercial film, imprinted with the social and political context of the times: the civil rights movement, the Vietnam War, the sexual revolution, women’s liberation, economic distress, urban decay, and, looming, the Shakespearean saga of the Nixon presidency. This volume offers the opportunity to look back, with nearly fifty years hindsight, at a golden age in American filmmaking.Less
The “New Hollywood” that emerged in the late sixties is now widely recognized as an era of remarkable filmmaking, when directors enjoyed a unique autonomy to craft ambitious, introspective movies that evinced a cinematic world of hard choices, complex interpersonal relationships, compromised heroes, and uncertain outcomes. The New Hollywood Revisited brings together a remarkable collection of authors (some of whom wrote about the New Hollywood as it unfolded), to revisit this unique era in American cinema (circa 1967-1976). It was a decade in which a number of extraordinary factors – including the end of a half-century-old censorship regime and economic and demographic changes to the American film audience – converged and created a new type of commercial film, imprinted with the social and political context of the times: the civil rights movement, the Vietnam War, the sexual revolution, women’s liberation, economic distress, urban decay, and, looming, the Shakespearean saga of the Nixon presidency. This volume offers the opportunity to look back, with nearly fifty years hindsight, at a golden age in American filmmaking.
Mollie Gregory
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9780813166223
- eISBN:
- 9780813166759
- Item type:
- chapter
- Publisher:
- University Press of Kentucky
- DOI:
- 10.5810/kentucky/9780813166223.003.0007
- Subject:
- Film, Television and Radio, Film
Could women break the barriers of Hollywood sexism? The Equal Employment Opportunity Commission (EEOC), Title VII, and Title IX facilitated change. But most important was the prevalence of new TV ...
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Could women break the barriers of Hollywood sexism? The Equal Employment Opportunity Commission (EEOC), Title VII, and Title IX facilitated change. But most important was the prevalence of new TV action shows starring women: The Bionic Woman, Wonder Woman, Charlie’s Angels. Stuntwomen still had to fight men’s urge to protect them, which was sometimes used as an excuse to give the job to a man. Their often tight-fitting wardrobes prevented stuntwomen from padding up when doing falls and other physical stunts, making the work more dangerous.Less
Could women break the barriers of Hollywood sexism? The Equal Employment Opportunity Commission (EEOC), Title VII, and Title IX facilitated change. But most important was the prevalence of new TV action shows starring women: The Bionic Woman, Wonder Woman, Charlie’s Angels. Stuntwomen still had to fight men’s urge to protect them, which was sometimes used as an excuse to give the job to a man. Their often tight-fitting wardrobes prevented stuntwomen from padding up when doing falls and other physical stunts, making the work more dangerous.
Carl Plantinga
- Published in print:
- 2018
- Published Online:
- May 2018
- ISBN:
- 9780190867133
- eISBN:
- 9780190867171
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190867133.003.0007
- Subject:
- Literature, Film, Media, and Cultural Studies
This chapter discusses both immersion and emotion in the context of an ethics of engagement. I defend both against criticisms leveled by estrangement theory, which tends to be suspicious against the ...
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This chapter discusses both immersion and emotion in the context of an ethics of engagement. I defend both against criticisms leveled by estrangement theory, which tends to be suspicious against the effects of each. The purpose is not merely defense, however, but to make positive claims about how immersion and emotion function in the viewing of screen stories, and beyond that to suggest how an ethics of engagement might approach them. The chapter suggests that immersion in itself is not necessarily harmful, and the immersive experience is sometimes coextensive with the sort of critical spectator experience favored by estrangement theorists. With regard to emotion, I argue that the blanket dismissal of emotion by estrangement theorists is wholly counterproductive. Instead, the ethical critic ought to understand what emotions are and how they function in order to distinguish their ethical effects.Less
This chapter discusses both immersion and emotion in the context of an ethics of engagement. I defend both against criticisms leveled by estrangement theory, which tends to be suspicious against the effects of each. The purpose is not merely defense, however, but to make positive claims about how immersion and emotion function in the viewing of screen stories, and beyond that to suggest how an ethics of engagement might approach them. The chapter suggests that immersion in itself is not necessarily harmful, and the immersive experience is sometimes coextensive with the sort of critical spectator experience favored by estrangement theorists. With regard to emotion, I argue that the blanket dismissal of emotion by estrangement theorists is wholly counterproductive. Instead, the ethical critic ought to understand what emotions are and how they function in order to distinguish their ethical effects.
