By Jeanine Basinger
During this hugely readable and pleasing publication, Jeanine Basinger indicates how the "woman's film" of the 30s, 40s, and 50s despatched a effective combined message to thousands of girl moviegoers. even as that such movies exhorted ladies to stay to their "proper" realm of fellows, marriage, and motherhood, they portrayed -- frequently with savour -- robust girls enjoying out freeing fantasies of energy, romance, sexuality, luxurious, even wickedness.
Never brain that the celluloid personas of Bette Davis, Myrna Loy, Katharine Hepburn, Joan Crawford, or Rita Hayworth see their folly and go back to their guy or lament his loss within the final 5 mins of the image; for the 1st eighty-five mins the viewers watched as those characters "wore nice outfits, sat on nice furnishings, enjoyed undesirable males, had plenty of intercourse, informed the area off for limiting them, even gave their young children away."
Basinger examines dozens of movies -- even if melodrama, screwball comedy, musical, movie noir, western, or biopic -- to make a persuasive case that the woman's movie used to be a wealthy, advanced, and subversive style that well-known and addressed, if covertly, the issues of girls.
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Extra resources for A Woman's View: How Hollywood Spoke to Women, 1930-1960
To other social institutions which do not operate in such a closed way (see Giddens 1984: 153–4). Accordingly, Bartky argues that the discipline of the feminine body is hard to locate in so far as it is‘institutionally unbound’. This absence of a formal institutional structure creates the impression that the assumption of femininity by female subjects is either natural or voluntary: Feminine bodily discipline has this dual character: on the one hand, no one is marched off for electrolysis at gunpoint, nor can we fail to appreciate the initiative and ingenuity displayed by countless women in an attempt to master the rituals of beauty.
To overlook the forms of subjection that engender the feminine body is to perpetuate the silence and powerlessness of those upon whom these disciplines have been imposed’ (Bartky 1988: 64). Other feminists have made similar criticisms about the gender blindness of Foucault’s work. Patricia O’Brien claims that the problem with Foucault’s analysis of prison regimes in Discipline and Punish, is that he does not consider how the treatment of male and female prisoners differed and how these differences related to dominant constructions of masculinity and femininity.
The institutions of justice tend to disappear, but rather that the law operates more and more as a norm, and that the judicial institution is increasingly incorporated into a continuum of apparatuses (medical, administrative, and so on) whose functions are for the most part regulatory. A normalizing society is the historical outcome of a technology of power centred on life. We have entered a phase of juridical regression (Foucault 1978a: 144). There is no theoretical space in Foucault’s model for reversing this causal chain and examining the way in which the law may structure and regulate the exercise of power within both penal institutions and society in general.