This edited volume explores the contributions of women to European, Mexican, American and Indian film industries during the years 1900 to 1950. Their pioneering work is considered, as well as their endeavors to bridge the gap between the avant-garde and mass culture.
This edited volume explores the contributions of women to European, Mexican, American and Indian film industries during the years 1900 to 1950. Their pioneering work is considered, as well as their endeavors to bridge the gap between the avant-garde and mass culture.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
María Cristina C. Mabrey is a retired Full Professor in the Department of Languages, Literatures and Cultures which includes foreign languages and Comparative Literature, and also affiliate faculty in the Women's and Gender Studies Program, at the University of South Carolina. Leticia Pérez Alonso is Assistant Professor in the Department of English, Modern Foreign Languages and Speech Communication at Jackson State University, and a past Fulbright and DAAD scholar.
Inhaltsangabe
Part 1: Women, Vanguardism and the Film/Advertising Industries 1. Silent Cinema and the Avant-Garde (1910-1939): The Provocative Advent of Mass Culture and Women's Reformulation of Visual Arts 2. Women Behind the Camera: How Lucia Schulz and Hortense Ribbentrop-Leudesdorff Changed the History of Photography and Cinematography 3. On-Screen Femininity Deconstructed: Garbo's Greta, Khokhlova's Edith and H.D.'s Astrid Part 2: Archetypal Femininity and Its Contradictions in Mexican, Italian and Hindi Cinema 4. The Representation of Women and the Racial Problem in La Llorona (1933) by Ramón Peón 5. Shady Women in Post-War Italian Cinema 6. Deconstructing Femininity and Progression of Women in Twentieth-Century Bollywood Films Part 3: Cultural Icons: Problematizing the New Woman Narratives 7. Female Celebrity and the New Woman: Artistic and Gendered Reflexivity in Greta Garbo, Cóncha Méndez and Maruja Mallo 8. Blue Angel as Red Nurse: Nazis' Infatuation with Marlene Dietrich 9. Carole Lombard, Katharine Hepburn, Barbara Stanwyck and the Gendered Agency of Screwball Comedies Part 4: Visual Pleasure and the Counter-Gaze 10. To Have and Not Have Lauren Bacall 11. Fetishism and the Male Gaze in Jaime Torres Bodet's Day Star 12. Mina Loy, Vachel Lindsay and Hollywood Celebrity Culture: Responses to the Male Gaze in Modernist Poetry. Epilogue
Part 1: Women, Vanguardism and the Film/Advertising Industries 1. Silent Cinema and the Avant-Garde (1910-1939): The Provocative Advent of Mass Culture and Women's Reformulation of Visual Arts 2. Women Behind the Camera: How Lucia Schulz and Hortense Ribbentrop-Leudesdorff Changed the History of Photography and Cinematography 3. On-Screen Femininity Deconstructed: Garbo's Greta, Khokhlova's Edith and H.D.'s Astrid Part 2: Archetypal Femininity and Its Contradictions in Mexican, Italian and Hindi Cinema 4. The Representation of Women and the Racial Problem in La Llorona (1933) by Ramón Peón 5. Shady Women in Post-War Italian Cinema 6. Deconstructing Femininity and Progression of Women in Twentieth-Century Bollywood Films Part 3: Cultural Icons: Problematizing the New Woman Narratives 7. Female Celebrity and the New Woman: Artistic and Gendered Reflexivity in Greta Garbo, Cóncha Méndez and Maruja Mallo 8. Blue Angel as Red Nurse: Nazis' Infatuation with Marlene Dietrich 9. Carole Lombard, Katharine Hepburn, Barbara Stanwyck and the Gendered Agency of Screwball Comedies Part 4: Visual Pleasure and the Counter-Gaze 10. To Have and Not Have Lauren Bacall 11. Fetishism and the Male Gaze in Jaime Torres Bodet's Day Star 12. Mina Loy, Vachel Lindsay and Hollywood Celebrity Culture: Responses to the Male Gaze in Modernist Poetry. Epilogue
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