Intervenes in the emerging discipline of law-and-film by developing a framework for evaluating how films represent "gender crimes" and how those representations affect audiences' ideas about women, their legal rights, and their roles in society
Intervenes in the emerging discipline of law-and-film by developing a framework for evaluating how films represent "gender crimes" and how those representations affect audiences' ideas about women, their legal rights, and their roles in society
Orit Kamir is Professor of Law and Gender at Hebrew University in Jerusalem and a Visiting Professor at the University of Michigan Law School. She is co-director of the Israeli Center for Human Dignity and the author of Every Breath You Take: Stalking Narratives and the Law; Israeli Honor and Dignity: Social Norms, Gender Politics, and the Law (in Hebrew); and Feminism, Rights, and the Law (also in Hebrew).
Inhaltsangabe
Acknowledgments ix Preface xi Introduction: Conceptual Framework 1 Part I. Feminist Critique of Law Films that Honor-Judge Women 1. Rashomon (Japan, 1950): Construction of Woman as Guilty Object 43 2. Pandora’s Box (Germany, 1928): Exorcising Pandora-Lilith in the Weimar Republic 73 3. Blackmail (England, 1929): Hitchcock’s Sound and the New Woman’s Guilty Silence 90 4. Anatomy of a Murder (U.S.A., 1959): Hollywood’s Hero-Lawyer Revives the Unwritten Law 112 Part II. Cinematic Women Demanding Judgment From Liberal Attitudes to Radical Feminist Jurisprudence and the Ethics of Care 5. Adam’s Rib (U.S.A., 1949): Hollywood’s Female Lawyer and Family Values (Read with Disclosure and Legally Blonde) 135 6. Nuts (U.S.A., 1987): The Mad Woman’s Day in Court 160 7. Death and the Maiden (U.S.A., 1994): Challenging Trauma with Feminine Judgment and Justice (Read with The Piano) 185 Part III. Women Resisting and Subverting Judgment Beyond Conventional Feminist Jurisprudence 8. A Question of Silence (Netherlands, 1982): Feminist Community as Revolution (Read against “A Jury of Her Peers”) 217 9. Set it Off (U.S.A., 1996): Minority Women at the Point of No Return 243 10. High Heels (Spain, 1991): Almodovar’s Postmodern Transgression 264 Notes 285 Bibliography 299 Index 313
Acknowledgments ix Preface xi Introduction: Conceptual Framework 1 Part I. Feminist Critique of Law Films that Honor-Judge Women 1. Rashomon (Japan, 1950): Construction of Woman as Guilty Object 43 2. Pandora’s Box (Germany, 1928): Exorcising Pandora-Lilith in the Weimar Republic 73 3. Blackmail (England, 1929): Hitchcock’s Sound and the New Woman’s Guilty Silence 90 4. Anatomy of a Murder (U.S.A., 1959): Hollywood’s Hero-Lawyer Revives the Unwritten Law 112 Part II. Cinematic Women Demanding Judgment From Liberal Attitudes to Radical Feminist Jurisprudence and the Ethics of Care 5. Adam’s Rib (U.S.A., 1949): Hollywood’s Female Lawyer and Family Values (Read with Disclosure and Legally Blonde) 135 6. Nuts (U.S.A., 1987): The Mad Woman’s Day in Court 160 7. Death and the Maiden (U.S.A., 1994): Challenging Trauma with Feminine Judgment and Justice (Read with The Piano) 185 Part III. Women Resisting and Subverting Judgment Beyond Conventional Feminist Jurisprudence 8. A Question of Silence (Netherlands, 1982): Feminist Community as Revolution (Read against “A Jury of Her Peers”) 217 9. Set it Off (U.S.A., 1996): Minority Women at the Point of No Return 243 10. High Heels (Spain, 1991): Almodovar’s Postmodern Transgression 264 Notes 285 Bibliography 299 Index 313
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