A visual history about how feminist artists have appropriated and incorporated the signification of the pin-up genre within their own work.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Maria Elena Buszek is Assistant Professor of Art History at the Kansas City Art Institute and a regular contributor to Bust magazine.
Inhaltsangabe
Acknowledgments ix Introduction: Defining/Defending the "Feminist Pin-Up" 1 1. Representing "Awarishness": The Theatrical Origins of the Feminist Pin-Up Girl 27 2. New Women for the New Century: Feminism and the Pin-Up at the Fin de Siècle 69 3. The Return of the Theatrical Feminism: Early-Twentieth-Century Pin-Ups on the State, Street, and Screen 115 4. Celebrating the "Kind of Girl Who Dominates": Film Fanzines and the Feminist Pin-Up 142 5. New Frontiers: Sex, Women, and World War II 185 6. Pop Goes the Pin-Up: New Roles and Readings in the Wake of Women's Liberation 232 7. Our Bodies/Ourselves: Pin-Ups in the Wake of Women's Liberation 268 8. From Womyn to Grrrls: The Postmodern Feminist Pin-Up 311 Conclusion/Commencement 355 Notes 365 Bibliography 403 Index 437
Acknowledgments ix Introduction: Defining/Defending the "Feminist Pin-Up" 1 1. Representing "Awarishness": The Theatrical Origins of the Feminist Pin-Up Girl 27 2. New Women for the New Century: Feminism and the Pin-Up at the Fin de Siècle 69 3. The Return of the Theatrical Feminism: Early-Twentieth-Century Pin-Ups on the State, Street, and Screen 115 4. Celebrating the "Kind of Girl Who Dominates": Film Fanzines and the Feminist Pin-Up 142 5. New Frontiers: Sex, Women, and World War II 185 6. Pop Goes the Pin-Up: New Roles and Readings in the Wake of Women's Liberation 232 7. Our Bodies/Ourselves: Pin-Ups in the Wake of Women's Liberation 268 8. From Womyn to Grrrls: The Postmodern Feminist Pin-Up 311 Conclusion/Commencement 355 Notes 365 Bibliography 403 Index 437
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