Kirjahaku

In a series of essays scrutinizing feminist and post-structuralists positions, Tania Modleski examines "the myth of postfeminism" and its operation in popular culture, especially popular film and cultural studies. (First published in 1991.)

Upon its first publication, Loving with a Vengeance was a groundbreaking study of women readers and their relationship to mass-market romance fiction. Feminist scholar and cultural critic Tania Modleski has revisited her widely read book, bringing to this new edition a review of the issues that have, in the intervening years, shaped and reshaped questions of women's reading. With her trademark acuity and understanding of the power both of the mass-produced object, film, television, or popular literature, and the complex workings of reading and reception, she offers here a framework for thinking about one of popular culture's central issues.This edition includes a new introduction, a new chapter, and changes throughout the existing text.

Alerting readers to a body of recent work that has gone under-examined, Tania Modleski redraws in Old Wives' Tales the perimeter of popular culture. A critical analysis of films such as The Ballad of Little Jo, The Piano and Dogfight, Old Wives' Tales also takes up performance, autobiographical experience, and contemporary social issues to illustrate how women's genres mediate between us and reality. Modelski examines the changes occurring in traditional women's genres, such as romances and melodrama, and explores the phenomenon of female authors and performers who "cross-dress"--women, that is, who are moving into male genres and staking out territory declared off-limits by men and by many feminists.

Alerting readers to a body of recent work that has gone under-examined, Tania Modleski redraws in Old Wives' Tales the perimeter of popular culture. A critical analysis of films such as The Ballad of Little Jo, The Piano and Dogfight, Old Wives' Tales also takes up performance, autobiographical experience, and contemporary social issues to illustrate how women's genres mediate between us and reality. Modelski examines the changes occurring in traditional women's genres, such as romances and melodrama, and explores the phenomenon of female authors and performers who "cross-dress"--women, that is, who are moving into male genres and staking out territory declared off-limits by men and by many feminists.

Upon its first publication, Loving with a Vengeance was a groundbreaking study of women readers and their relationship to mass-market romance fiction. Feminist scholar and cultural critic Tania Modleski has revisited her widely read book, bringing to this new edition a review of the issues that have, in the intervening years, shaped and reshaped questions of women's reading. With her trademark acuity and understanding of the power both of the mass-produced object, film, television, or popular literature, and the complex workings of reading and reception, she offers here a framework for thinking about one of popular culture's central issues.This edition includes a new introduction, a new chapter, and changes throughout the existing text.

In a series of essays scrutinizing feminist and post-structuralists positions, Tania Modleski examines "the myth of postfeminism" and its operation in popular culture, especially popular film and cultural studies. (First published in 1991.)

Originally published in 1988, The Women Who Knew Too Much remains a classic work in film theory and feminist criticism. The book consists of a theoretical introduction and analyses of seven important films by Alfred Hitchcock, each of which provides a basis for an analysis of the female spectator as well as of the male spectator. Modleski considers the emotional and psychic investments of men and women in female characters whose stories often undermine the mastery of the cinematic "master of suspense." The third edition features an interview with the author by David Greven, in which he and Modleski reflect on how feminist and queer approaches to Hitchcock studies may be brought into dialogue. A teaching guide and discussion questions by Ned Schantz help instructors and students to delve into this seminal work of feminist film theory.

Originally published in 1988, The Women Who Knew Too Much remains a classic work in film theory and feminist criticism. The book consists of a theoretical introduction and analyses of seven important films by Alfred Hitchcock, each of which provides a basis for an analysis of the female spectator as well as of the male spectator. Modleski considers the emotional and psychic investments of men and women in female characters whose stories often undermine the mastery of the cinematic "master of suspense." The third edition features an interview with the author by David Greven, in which he and Modleski reflect on how feminist and queer approaches to Hitchcock studies may be brought into dialogue. A teaching guide and discussion questions by Ned Schantz help instructors and students to delve into this seminal work of feminist film theory.