During the early Hollywood sound era, studio director George Cukor produced nearly fifty films in as many years, famously winning the Best Director Oscar at the 1964 Academy Awards for My Fair Lady. His collaborations with so-called difficult actresses such as Katharine Hepburn, Judy Garland, and Marilyn Monroe unsettled producers even as his ticket sales lined their pockets. Fired from Gone with the Wind for giving Vivien Leigh more screen time than Clark Gable, Cukor quickly earned a double-sided reputation as a "woman's director." While the label celebrated his ability to help actresses deliver their best performances, the epithet also branded the gay director as suitable only for work on female-centered movies such as melodramas and romantic comedies. Desperate for success after a failed drag film nearly ended his career, Cukor swore to work within Hollywood's constraints. Nevertheless, What Price Hollywood? Gender and Sex in the Films of George Cukor finds that Cukor continued to explore gender and sexuality on-screen. Drawing on a broad array of theoretical lenses, Elyce Rae Helford examines how Cukor's award-winning films—titles including My Fair Lady and The Philadelphia Story—as well as his lesser-known films engage Hollywood masculinity and gender performativity through camp, drag, and mixed genres. Blending biography with critical analysis of more than twenty-five films, What Price Hollywood? tells the story of a once-in-a-generation director who produced some of the best films in history.
During the early Hollywood sound era, studio director George Cukor produced nearly fifty films in as many years, famously winning the Best Director Oscar at the 1964 Academy Awards for My Fair Lady. His collaborations with so-called difficult actresses such as Katharine Hepburn, Judy Garland, and Marilyn Monroe unsettled producers even as his ticket sales lined their pockets. Fired from Gone with the Wind for giving Vivien Leigh more screen time than Clark Gable, Cukor quickly earned a double-sided reputation as a "woman's director." While the label celebrated his ability to help actresses deliver their best performances, the epithet also branded the gay director as suitable only for work on female-centered movies such as melodramas and romantic comedies. Desperate for success after a failed drag film nearly ended his career, Cukor swore to work within Hollywood's constraints. Nevertheless, What Price Hollywood? Gender and Sex in the Films of George Cukor finds that Cukor continued to explore gender and sexuality on-screen. Drawing on a broad array of theoretical lenses, Elyce Rae Helford examines how Cukor's award-winning films—titles including My Fair Lady and The Philadelphia Story—as well as his lesser-known films engage Hollywood masculinity and gender performativity through camp, drag, and mixed genres. Blending biography with critical analysis of more than twenty-five films, What Price Hollywood? tells the story of a once-in-a-generation director who produced some of the best films in history.
A new collection on women in American television in the 90s uncovers a cultural obsession with tough yet sexy heroines in mythical pasts, the 'girl power' present, and utopic futures. Xena, Buffy, Sabrina, and a host of other characters have become household words, as well as icons of pop culture 'feminism.' Their popularity makes for successful programming, however, how much does this trend truly represent a contemporary feminist breakthrough? And what does it mean for feminism in the next few decades? Fantasy Girls: Navigating the New Universe of Science Fiction and Fantasy Television seeks to explore as well as challenge the power and the promises of this recent media phenomenon. Such TV programming offers the exciting opportunity to rethink established gender norms, but how far is it really pushing the limits of the status quo? Amidst the exuberant optimism of fanzines and doting fan websites, the contributors to this volume endeavor to provide us with a much needed critical analysis of this contemporary trend. These essays explore the contradictions and limitations inherent in the genre, forcing readers to take a fresh and critical look through a variety of lenses including girl power, postfeminism, cyborg feminism, disability politics, queer studies, and much more. Programs covered are Babylon 5, Buffy the Vampire Slayer, Disney's Cinderella, Lois and Clark, Mystery Science Theater 3000, Sabrina the Teenage Witch, Star Trek: Voyager, The X-Files, Third Rock from the Sun, and Xena: Warrior Princess.
A new collection on women in American television in the 90s uncovers a cultural obsession with tough yet sexy heroines in mythical pasts, the 'girl power' present, and utopic futures. Xena, Buffy, Sabrina, and a host of other characters have become household words, as well as icons of pop culture 'feminism.' Their popularity makes for successful programming, however, how much does this trend truly represent a contemporary feminist breakthrough? And what does it mean for feminism in the next few decades? Fantasy Girls: Navigating the New Universe of Science Fiction and Fantasy Television seeks to explore as well as challenge the power and the promises of this recent media phenomenon. Such TV programming offers the exciting opportunity to rethink established gender norms, but how far is it really pushing the limits of the status quo? Amidst the exuberant optimism of fanzines and doting fan websites, the contributors to this volume endeavor to provide us with a much needed critical analysis of this contemporary trend. These essays explore the contradictions and limitations inherent in the genre, forcing readers to take a fresh and critical look through a variety of lenses including girl power, postfeminism, cyborg feminism, disability politics, queer studies, and much more. Programs covered are Babylon 5, Buffy the Vampire Slayer, Disney's Cinderella, Lois and Clark, Mystery Science Theater 3000, Sabrina the Teenage Witch, Star Trek: Voyager, The X-Files, Third Rock from the Sun, and Xena: Warrior Princess.
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