Feminist Film Theory and Pretty Woman
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Feminist Film Theory and Pretty Woman

Mari Ruti

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  2. English
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eBook - PDF

Feminist Film Theory and Pretty Woman

Mari Ruti

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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

Publisher
Bloomsbury Academic
Year
2016
ISBN
9781501319440
Edition
1
Topic
Mezzi di comunicazione e arti performative
Subtopic
Film e video
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