Book Description
America on Film: Representing Race, Class, Gender, and Sexuality in the Movies is a lively introduction to issues of diversity as represented within the American cinema. The first synthetic and historical text of its kind, America on Film provides a comprehensive overview of the industrial, socio-cultural, and aesthetic factors that contribute to cinematic representations of race, class, gender, and sexuality. The volume chronicles the cinematic history of various cultural groups, examines forces and institutions of bias, and stimulates discussion about the relationship between film and American national culture.Accessible and user-friendly, America on Film features 101 illustrations, a glossary of key terms, questions for discussion, and lists for further reading and further viewing. The book is organized within a broad historical framework, with specific theoretical concepts - including film genre, auteurism, cultural studies, Orientalism, the "male gaze, " feminism, and queer theory - integrated throughout. Each individual chapter features a concise overview of the topic at hand, a discussion of representative films, figures, and movements, and an in-depth analysis of a single film, including The Lion King, The Jazz Singer, Smoke Signals, The Grapes of Wrath, and The Celluloid Closet.
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- Truth be told
- Clarity and Courage
- Disappointed
- A little circular, yes. But somewhat helpful.
- Terrific book
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The Dance of Deception: A Guide to Authenticity and Truth-Telling in Women's Relationships
Harriet Lerner
Manufacturer: Harper Paperbacks
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The Dance of Intimacy
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The Dance of Connection: How to Talk to Someone When You're Mad, Hurt, Scared, Frustrated, Insulted, Betrayed, or Desperate
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The Dance of Anger: A Woman's Guide to Changing the Patterns of Intimate Relationships
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Fear and Other Uninvited Guests : Tackling the Anxiety, Fear, and Shame That Keep Us from Optimal Living and Loving
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Airborne Effervescent Health Formula, Original Orange, 10 Tablets (Pack of 3)
ASIN: 0060924632 |
Book Description
When The Dance of Deceptionwas published, Lerner discovered that women were not eager to identify with the subject. "Well, I don't do deception" was a common resonse.
We all "do deception", often with the intention to protect ourselves and the relationships we depend on. The Dance of Deceptionunravels the ways (and whys) that women show the false and hide the real -- even to our own selves. We see how relationships are affected by lying and faking, by silence and pretending and by brave -- but misguided -- efforts to tell the truth.
Truth-telling is at the heart of what is most central in women's lives. It is at the foundation of authenticity and creativity, intimacy and joy. Yet in the name of "honesty", we can bludgeon each other. We can approach a difficult issue with such a poor sense of timing and tact that we can actually shut down the lines of communication rather than widening the path of truth-telling.
Sometimes Lerner's advice takes a surprising turn -- for example, when she asks us to engage in a bold act of pretending in order to discover something "more real"; or when she tells us not to parachute down on our family to bring up a "hot issue" without laying the necessary groundwork first.
Whether the subject is affairs, family secrets, sexual faking or the challenge of "being oneself", Lerner helps us to discover, speak and live our own truths.
Customer Reviews:
Truth be told.......2007-10-03
Perhaps the truth can set us free, but it seems that the first step is to free that truth within us. The Dance of Deception provides an insightful overview of how our own personal truths get blocked by both systemic forces such as society, cultural expectations, family secrets, as well as by inner forces such as overwhelming emotions, personal narratives, and internal confusion. Harriet explores the process of truth-telling in women's lives which begins with tuning into our own personal truths and then effectively sharing these truths with others. Her book clearly illuminates how the quest for our deepest truths is a prerequisite for authentic relationships with both the self and others.
Clarity and Courage.......2003-02-13
Harriet Lerner has long been writing books that are both insightful and accessible. In 'The Dance of Deception' she has achieved something miraculous: she has written a book that can help you reconnect with estranged family members and friends, improve your rapport with your children, no matter their age, and, perhaps most importantly, help alleviate the pain that deception has caused you in your own life. I have suffered greatly because of family secrets and have also struggled recently to communicate with my loved ones about painful topics. This book has served as an indispensable guide through these difficult processes and has helped me emerge a stronger, happier person. I am greatly indebted to Harriet Lerner. And I firmly believe the world is a better place for having her in it!!
Disappointed.......2002-05-09
After reading The Dance of Anger, I was charged with energy to change patterns in relationships that I had fallen into. I thought this book would have a similar effect, because I know that I hide things that seem too painful to discuss. However, I couldn't get into it because it seemed more of a political agenda than a guide to improving relationships. What on earth does the author's stance on abortions (very pro-choice) have to do with deception in personal relationships? I haven't gotten much constructive self-knowledge out of this book.
A little circular, yes. But somewhat helpful........2002-01-20
Wow. I consider myself to be a truthful, honest person. I hate liars and hypocrites more than I hate anything else in the world. So I had to take a really deep breath and really THINK when I finally woke up to the idea that truth and honesty are not always what they should be. I took a good, long, ugly look at myself and realized that I use truth as a weapon, rather than as a tool. I am not always honest with people because I want to create a better relationship. I am sometimes honest just to be hurtful, to shock people, or to get attention away from whoever is monopolizing the conversation at the moment. Hm. Ugly!
The problematic relationship (s) in my life are like cans. I can pick up a big ol' truth-sledgehammer and knock the heck out of that can, or I can use truth gently, like a can opener and let that can open up and get to what's inside.
One option gives me the satisfaction of 'letting so and so have it' because I'm darn tired of biting my tongue and pretending that things are OK when they're NOT. And the other option lets me be honest, but gives the other person (the can) the chance of telling truth back to me, too.
The feminist rhetoric falls short, as it always does with me. If you don't want to hang out in the kitchen and pop out babies, for heaven's sake, DON'T. But don't blame men if that's what you decide to do with your life and then change your mind later. Don't you think men change their minds about wanting to be married daddies sometimes, too? There is too much blaming going on. People need to own their lives. If you know your situation is messed up, you know enough to change it.
Also, the whole thing about minorities and tokens rings very false when Lerner presents the statistic in her final chapter that women actually outnumber men in the world. So, hello? How can we consider to whine and consider ourselves a token or a minority when we are numerically superior? I don't really get that at all.
Anyway. 4 stars. It's an eye-opener!
Terrific book.......2001-09-25
I think this is Harriet Lerner's best book. I has the clearest and most helpful chapter on family secrets that I've ever read. The chapter called "A Funny Thing Happened on the Way to the Orifice" is worth the price of the book. The chapter on affairs, even though controversial, should be helpful to all couples, especially if you think your partner will never cheat on you.
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Wearing the Breeches: Gender on the Antebellum Stage
Elizabeth Reitz Mullenix
Manufacturer: Palgrave Macmillan
ProductGroup: Book
Binding: Hardcover
United States
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ASIN: 0312223498 |
Book Description
Established as a popular convention during the English Restoration, the practice of women playing male roles reached its peak in America during the first half of the nineteenth century as actresses regularly donned tunics, tights, and trousers in theaters throughout the country. This feminist history takes a gendered look at a phenomenon that has, until now, been widely regarded by theater scholars as a form of entertainment exclusively designed to titillate a male audience, and demonstrates that breeches performance revealed much more than a shapely leg.
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As She Likes It: Shakespeare's Unruly Women (Gender and Performance)
Penny Gay
Manufacturer: Routledge
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Shakespeare and the Nature of Women: Third Edition
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Shakespeare and Women (Oxford Shakespeare Topics)
ASIN: 0415096960 |
Book Description
Looks at the way five of the comedies have been staged over the last 50 years, asking how gender politics affects the production of the comedies, and how gender is represented, both in the text and on stage.
Book Description
Valued for their sensual and social intensity, Greek dance-events are often also problematical for participants, giving rise to struggles over position, prestige, and reputation. Here Jane Cowan explores how the politics of gender is articulated through the body at these culturally central yet until now ethnographically neglected celebrations in a class-divided northern Greek town. Portraying the dance-event as both a highly-structured and dynamic social arena, she approaches the human body not only as a sign to be deciphered but as a site of experience and an agent of practice.
In describing the multiple ideologies of person, gender, and community that townspeople embody and explore as they dance, Cowan presents three different settings: the traditional wedding procession, the "Europeanized" formal evening dance of local civic associations, and the private party. She examines the practices of eating, drinking, talking, gifting, and dancing, and the verbal discourse through which celebrants make sense of each other's actions. Paying particular attention to points of tension and moments of misunderstanding, she analyzes in what ways these social situations pose different problems for men and women.
Book Description
Movie-Struck Girls examines women's films and filmgoing in the 1910s, a period when female patronage was energetically courted by the industry for the first time. By looking closely at how women were invited to participate in movie culture, the films they were offered, and the visual pleasures they enjoyed, Shelley Stamp demonstrates that women significantly complicated cinemagoing throughout this formative, transitional era. Growing female patronage and increased emphasis on women's subject matter did not necessarily bolster cinema's cultural legitimacy, as many in the industry had hoped, for women were not always enticed to the cinema by dignified, uplifting material, and once there, they were not always seamlessly integrated in the social space of theaters, nor the new optical pleasures of film viewing. In fact, Stamp argues that much about women's films and filmgoing in the postnickelodeon years challenged, rather than served, the industry's drive for greater respectability.
White slave films, action-adventure serial dramas, and women's suffrage photoplays all drew female audiences to the cinema with stories aimed directly at women's interests and with advertising campaigns that specifically targeted female moviegoers. Yet these examples suggest that women's patronage was built with stories focused on sexuality, sensational thrill-seeking, and feminist agitation, topics not normally associated with ladylike gentility. And in each case concerns were raised about women's conduct at cinemas and the viewing habits they enjoyed, demonstrating that women's integration into motion picture culture was not as smooth as many have thought.
Customer Reviews:
Sex-Kitten.net Review: .......2005-06-25
The Early History of Women *And* Film (Not "In" Film)
Every so often, we women complain about women in the media. When it comes to movies, we complain about the diminished roles for maturing women; we complain about the way women are portrayed in films; we complain about the history of films, most notably The Hollywood Code which seemed to destroy & limit our potential as women in film -- on both sides of the camera. But long before all that, in the very beginning, it was even worse.
In 'Movie-Struck Girls: Women & Motion Picture Culture After the Nickelodeon', by Shelley Stamp, we learn more than just the roles of women in films or behind the camera -- we learn about women's role as patrons of cinema.
The book is an eye-opening look at a long ignored part of American film history -- and an astonishing look at the history of women as media consumers.
Stamp spent over ten years researching for this book. She studied trade journals, fan magazines, ephemera, and many official documents and records at the National Board of Censorship Archives in New York City, the Academy of Motion Picture Arts and Sciences' Margaret Herrick Library in Los Angeles, & the New York Public Library for the Performing Arts. Many of the films she reviewed are no longer readily available, let alone circulating, but can be found at the Library of Congress & the UCLA Film and Television Archive.
It sounds like a huge undertaking, & I thank her for it. 'Movie-Struck Girls' presents a wealth of information that I had never known before.
In 'Movie-Struck Girls' you learn all about these long-hidden details of American film history & it's collision with turn of the century American values -- including titles, studios, stars, organizations, & political figures. For a person who adore film & is a passionate feminist, this is a great read. Why it's as thrilling as those old adventure serial films!
Stamp does a great job of presenting this long ignored part of film -- and women's -- history. It's definitely an academic read, which means it is meaty enough for those who want to further search for clues, artifacts & films themselves. It may not read like a novel, but it's so fascinating & full of details, it won't disappoint. Fans of film, especially silent films, cannot call themselves educated in the subject unless they know this history. And women, well, we start to see a much larger image emerge -- our complaints regarding women in the media have much deeper roots than we previously knew.
(Condensed Review)
Book Description
Since the early 70s, film theory has focused on melodrama as a particularly challenging genre. Feminism, in particular, has claimed a stake in re-examination of the form, raising many critical questions about the relation between gender and culture. This collection contains the most exciting contributions from nearly two decades of critical endeavor to come to terms with these questions. Christine Gledhill's overview precedes essays that range from classics by Thomas Elsaesser, Laura Mulvey, and Geoffrey Nowell-Smith to newly commissioned perspectives covering Hollywood's output from the early 20s to the 60s. Home is Where the Heart Is constitutes invaluable reading for anyone interested in the role of melodrama in the history of cinema, feminist film criticism, and analyses of popular culture.
Book Description
Passengers disco dancing in The Love Boat’s Acapulco Lounge. A young girl walking by a marquee advertising Deep Throat in the made-for-TV movie Dawn: Portrait of a Teenage Runaway. A frustrated housewife borrowing Orgasm and You from her local library in Mary Hartman, Mary Hartman. Commercial television of the 1970s was awash with references to sex. In the wake of the sexual revolution and the women’s liberation and gay rights movements, significant changes were rippling through American culture. In representing—or not representing—those changes, broadcast television provided a crucial forum through which Americans alternately accepted and contested momentous shifts in sexual mores, identities, and practices.
Wallowing in Sex is a lively analysis of the key role of commercial television in the new sexual culture of the 1970s. Elana Levine explores sex-themed made-for-TV movies; female sex symbols such as the stars of Charlie’s Angels and Wonder Woman; the innuendo-driven humor of variety shows (The Sonny and Cher Comedy Hour, Laugh-In), sitcoms (M*A*S*H, Three’s Company), and game shows (Match Game); and the proliferation of rape plots in daytime soap operas. She also uncovers those sexual topics that were barred from the airwaves. Along with program content, Levine examines the economic motivations of the television industry, the television production process, regulation by the government and the tv industry, and audience responses. She demonstrates that the new sexual culture of 1970s television was a product of negotiation between producers, executives, advertisers, censors, audiences, performers, activists, and many others. Ultimately, 1970s television legitimized some of the sexual revolution’s most significant gains while minimizing its more radical impulses.
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Actresses and Whores: On Stage and in Society
Kirsten Pullen
Manufacturer: Cambridge University Press
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Actresses as Working Women (Gender and Performance Series)
ASIN: 0521541026 |
Book Description
The categories of "whore" and "actress" have overlapped over centuries. Actresses are assumed to be sexually available and promiscuous, and prostitutes are assumed to perform for their clients. Employing historical biographies as well as interviews with contemporary sex workers, this book compares actresses and prostitutes from Nell Gwynne to Mae West. Ranging from the seventeenth century to the present, Kirsten Pullen offers many new insights to theater historians and scholars of cultural, social and gender studies.
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