The first full length academic study of Hepburn's star persona and films featuring reseach into the experience of British women who have admired her in the 1950s, 1960s and the 1990s. Examines the historical specificity of discourses of feminity circulating around Hepburn and her female fans, suggesting that the flexibility of Hepburn's image has contributed to her enduring appeal. Makes a significant contribution to the growing field of star studies. Argues that class and gender are siginifcant factors in the relatonship between stars and audiences.
The first full length academic study of Hepburn's star persona and films featuring reseach into the experience of British women who have admired her in the 1950s, 1960s and the 1990s. Examines the historical specificity of discourses of feminity circulating around Hepburn and her female fans, suggesting that the flexibility of Hepburn's image has contributed to her enduring appeal. Makes a significant contribution to the growing field of star studies. Argues that class and gender are siginifcant factors in the relatonship between stars and audiences.
Rachel Moseley is Lecturer in Film and Television Studies at University of Warwick
Inhaltsangabe
List of figures Acknowledgements Introduction 1. On the subject of Film Studies: Class, gender and the female spectator Class, gender and 'resistance' Discourse and subjectivity 2. Audrey Hepburn: A woman's star 'She's a phoney, but she's a real phoney': Construction, transparency and authenticity 'Once upon a time...': Fairy-tales, fashion and femininity Fashion: A gendered attractionist aesthetic 'Can't do it without make-up' : Natural, democratic beauty Clever, not sexy: Hepburn and 'the Mammary Woman' 3. Dress and subjectivity: Remembering Audrey Dress and desire: The articulation of self through style Growing up with Audrey: Dress and subjectivity Style, 'the look' and 'being a girl' in the 1950s and 1960s Talking about Audrey 'Oh please God - let it happen to me!' Text and audience: Resonance and address 4. Doing the Hepburn look Difference Being a girl Classy, not sexy Negotiating the social: Growing up, looking 'nice', wearing black 'She was everything. And it was all within reach, if you like' 5. Audrey's Cinderellas: Dress and status in the 1950s and 1960s 'You shall go to the ball...' Love, marriage and the domestic 'I admit I came to Paris to escape American Provincial, but that doesn't mean I'm ready for French Traditional!' 'I'm a respectable girl, so I am...' 6. Audrey Hepburn, nostalgia and post-feminism in the 1990s Mothers and daughters 'She's a real phoney' (Part Two) Nostalgia and escape from the post-modern Dressing up Having it all Conclusion Appendix I - The main interviews Glossary of symbols The interviewees Interview questions Appendix II - Extended interview extracts (Chapter 4) References and further reading Filmography
List of figures Acknowledgements Introduction 1. On the subject of Film Studies: Class, gender and the female spectator Class, gender and 'resistance' Discourse and subjectivity 2. Audrey Hepburn: A woman's star 'She's a phoney, but she's a real phoney': Construction, transparency and authenticity 'Once upon a time...': Fairy-tales, fashion and femininity Fashion: A gendered attractionist aesthetic 'Can't do it without make-up' : Natural, democratic beauty Clever, not sexy: Hepburn and 'the Mammary Woman' 3. Dress and subjectivity: Remembering Audrey Dress and desire: The articulation of self through style Growing up with Audrey: Dress and subjectivity Style, 'the look' and 'being a girl' in the 1950s and 1960s Talking about Audrey 'Oh please God - let it happen to me!' Text and audience: Resonance and address 4. Doing the Hepburn look Difference Being a girl Classy, not sexy Negotiating the social: Growing up, looking 'nice', wearing black 'She was everything. And it was all within reach, if you like' 5. Audrey's Cinderellas: Dress and status in the 1950s and 1960s 'You shall go to the ball...' Love, marriage and the domestic 'I admit I came to Paris to escape American Provincial, but that doesn't mean I'm ready for French Traditional!' 'I'm a respectable girl, so I am...' 6. Audrey Hepburn, nostalgia and post-feminism in the 1990s Mothers and daughters 'She's a real phoney' (Part Two) Nostalgia and escape from the post-modern Dressing up Having it all Conclusion Appendix I - The main interviews Glossary of symbols The interviewees Interview questions Appendix II - Extended interview extracts (Chapter 4) References and further reading Filmography
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