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Cracks in the pedestal : ideology and gender in Hollywood

著者: Philip Green
出版商: Amherst : University of Massachusetts Press, ©1998.
版本/格式:   图书 : 州政府或者省政府刊物 : 英语查看所有的版本和格式
提要:
Distinguishing his own neo-Marxist approach from that of other media scholars, Philip Green pursues two interrelated themes. In the first part of the book, he looks at the strategies Hollywood has employed to deflect or absorb the ideological challenges posed by the feminist critique of contemporary American society. He demonstrates the ways in which mainstream movies and television programs, no matter how
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详细书目

附加的形体格式: Online version:
Green, Philip, 1932-
Cracks in the pedestal.
Amherst : University of Massachusetts Press, c1998
(OCoLC)605190194
材料类型: 政府刊物, 州政府或者省政府刊物
文件类型:
所有的著者/提供者: Philip Green
ISBN: 1558491198 9781558491199 1558491201 9781558491205
OCLC号码: 36977273
描述: viii, 262 p. : ill. ; 25 cm.
内容: Ideology, Gender, and Visual Culture --
Erasures --
Ideological Destinies --
Recuperating the Sexual Order --
Media Structures and Dominant Ideas --
Cracks in the Pedestal: Resistance and Opposition --
"Put the Blame on Mame ..." Ambivalance and Ambiguity --
What the Male Gaze Sees "Women You Don't Mess With" --
What the Male Gaze Sees: The Wrath of the Medusa.
责任: Philip Green.

摘要:

Distinguishing his own neo-Marxist approach from that of other media scholars, Philip Green pursues two interrelated themes. In the first part of the book, he looks at the strategies Hollywood has employed to deflect or absorb the ideological challenges posed by the feminist critique of contemporary American society. He demonstrates the ways in which mainstream movies and television programs, no matter how unconventional or "subversive" they may appear, produce and reproduce familiar images of sexuality and gender identity.

In the second part, Green highlights instances in which reproduction of the dominant ideology is less successful by examining several recent cinematic genres - the female action movie, the rape-revenge cycle, and the new film noir - that portray the real ambiguities of a social order in upheaval. As a male consumer of the cultural commodities being discussed, the author offers a perspective on American films and television different from that of most other feminist critics.

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