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Author Archives: bittnetc
There were a number of wonderful presentations this week, even if the sudden onset of a fever caused me (quite unfortunately!) to miss the second day. Julie’s project on the portrayal of violence against women in film seems interesting, especially … Continue reading → Continue reading
If you are still looking for suggestions about women in politics on television and film, Stephanie, then I have a couple of suggestions for places you might look. Since you’re looking at House of Cards, it might be interesting if … Continue reading → Continue reading
I loved reading the excerpt from Tina Fey’s memoir for class this week (for interested parties, the rest of Bossypants is just as wonderfully side-splitting). It made me want to reflect a bit on Fey’s television series 30 Rock, which … Continue reading → Continue reading
For my final project, I plan to examine the female gaze/women who look within the work of Alfred Hitchcock. I will look at Rear Window (1954), Suspicion (1941), and either Vertigo (1958) or Shadow or a Doubt (1943), but possibly both. … Continue reading → Continue reading
The trafficking and exchange of women is a theme that runs throughout Steig Larsson’s Millennium series. This is developed most explicitly in the second film, The Girl Who Played with Fire, which opens with a journalist/academic pair who reveal they … Continue reading → Continue reading
In her book Black Looks: Race and Representation (which we read an excerpt of for class), bell hooks gives a rather scathing critique of Paris is Burning. She criticizes the film as too privileging a view of white femininity as … Continue reading → Continue reading
Though Jim McAlister is arguably the protagonist of Alexander Payne’s Election (1999), the film offers a unique omniscient narration that allows three other characters—Tracy Flick, and Paul and Tammy Metzler—to occasionally hijack the narrative and narration for themselves. Significantly, the … Continue reading → Continue reading
Though ostensibly a thriller in the gangster/criminal model, the Wachowskis’ (then brothers now siblings) Bound (1996) freely borrows from other genres, adding in erotica, romance, and comedic elements, pushing the conventions of the thriller genre almost to the point of … Continue reading → Continue reading
Alfred Hitchcock’s Rear Window presents an opportunity to explore Laura Mulvey’s critique of cinematic tradition in “Visual Pleasure and Narrative Cinema,” particularly since Mulvey herself uses Rear Window as an example of Hitchcock’s predilection for voyeurism in his films (7-8). … Continue reading → Continue reading
Laura Mulvey’s seminal essay “Visual Pleasure and Narrative Cinema” interrogates cinematic history, and finds it to be decidedly patriarchal. Mulvey documents, fairly convincingly, the ways in which women are eroticized and fetishized as visual objects: for the (male) characters within … Continue reading → Continue reading