- 213 pages
- English
- PDF
- Available on iOS & Android
eBook - PDF
Feminist Film Theory and Pretty Woman
About this book
In Feminist Film Theory and Pretty Woman, Mari Ruti traces the development of feminist film theory from its foundational concepts such as the male gaze, female spectatorship, and the masquerade of femininity to 21st-century analyses of neoliberal capitalism, consumerism, postfeminism, and the revival of "girly" femininity as a cultural ideal. By interpreting Pretty Woman as a movie that defies easy categorization as either feminist or antifeminist, the book counters the all-too-common critical dismissal of romantic comedies as mindless drivel preoccupied with trivial "feminine" concerns such as love and shopping. The book's lucid presentation of the key concerns of feminist film theory, along with its balanced reading of Pretty Woman, shed light on a Hollywood genre often overlooked by film critics: the romantic comedy.
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Information
182
NOTES
Introduction
1
Helen
Warner,
“‘A
New
Feminist
Revolution
in
Hollywood
Comedy’?:
Postfeminist
Discourses
and
the
Critical
Reception
of
Bridesmaids
,”
in
Postfeminism
and
Contemporary
Hollywood
Cinema
,
ed.
Joel
Gwynne
and
Nadine
Muller
(London:
Palgrave
Macmillan,
2013),
266.
2
This
statement
can
be
found
on
the
DVD
cover
of
Bridesmaids
.
3
Warner,
“‘A
New
Feminist
Revolution
in
Hollywood
Comedy,’”
288.
4
Ibid.,
229.
5
Ibid.,
231.
6
Diane
Negra,
“Structural
Integrity,
Historical
Reversion,
and
the
Post-9/11
Chick
Flick,”
Feminist
Media
Studies
8,
no.
1
(2008):
51.
7
Tamar
Jeffers
McDonald,
Romantic
Comedy:
Boy
Meets
Girl
Meets
Genre
(London:
Wallflower,
2002),
7.
8
Warner,
“‘A
New
Feminist
Revolution
in
Hollywood
Comedy,’”
222.
9
Hilary
Radner,
Neo-Feminist
Cinema:
Girly
Films,
Chick
Flicks,
and
Consumer
Culture
(New
York:
Routledge,
2011),
41.
10
Ibid.,
28.
11
Ibid.,
40.
12
The
screwball
comedies
of
the
1930s
and
the
1940s
are
arguably
more
straightforwardly
feminist
than
many
contemporary
romantic
comedies.
However,
even
they
often
end
in
a
manner
that
“tames”
the
female
lead,
usually
through
a
romantic
Table of contents
- Title Page
- Copyright Page
- Contents
- Introduction
- Chapter 1 Feminist Film Theory
- Chapter 2 Feminist Film Theory and Pretty Woman
- Conclusion
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