becoming a femme fatale book
Ostensibly the villain, but also a paragon of feminine power, poise, and intelligence, the femme fatale embodies Hollywood's contradictory attitudes toward ambitious women.
But how has the figure of the femme fatale evolved over time, and to what extent have these changes reflected changing cultural attitudes toward female independence and sexuality?
This book offers readers a concise look at more than a century of femme fatales on both the big screen and the television screen.
Beginning with ethnically exotic silent film vampires like Theda Bara and Pola Negri, it examines classic noir femme fatales like Barbara Stanwyck in Double Indemnity, as well as postmodern revisions of the archetype in films like Basic Instinct and Memento.
Finally, it explores how contemporary film and television creators like Fleabag and Killing Eve's Phoebe Waller-Bridge have appropriated the femme fatale in surprising and endearing ways.
considers how discourses about the pleasures and dangers of female acting are projected onto the figure of the femme fatale. Ultimately, it's a celebration of how "mean girl" roles have given some of Hollywood's most talented actresses opportunities to fully express their charisma on screen. femme fatale.
become a femme fatale book
Characters in the American naturalism literary tradition are often perceived as passive, unwilling, weak, and predetermined. They are constantly seen as victims of heredity and environment, and their lives are shaped by these powerful forces acting upon them.
become a femme fatale
This engaging book examines the portrayal of female characters in American naturalism and argues that women in American naturalism are often portrayed as femmes fatales.
Since heredity and environment are the determining factors in their lives, they are victims who have no control.
However, with characters like Trina Sieppe in Frank Norris's McTeague, Caroline Meeber in Theodore Dreiser's Sister Carrie, Edna Pontellier in Kate Chopin's The Awakening, and Helga Crane in Nella Larsen's Quicksand, these female victims gradually become victimizers to conquer.
to both. heredity and environment. They consciously and deliberately use the only power they have that can help them overcome the naturalistic world in which they are trapped: the power of the feminine.
becoming a femme fatale book pdf free download
The book explains who exactly is the femme fatale born out of American naturalism and explores images of women in American realism that predate the femme fatale of American naturalism.
This study examines the likes of Trina Sieppe, Caroline Meeber, Edna Pontellier, and Helga Crane.
It examines the backgrounds of these women, their behaviors, their temperaments, their experiences and her environments, and explains how and when each woman chooses to use her sexuality.
There is also a brief discussion of other femmes fatales in American naturalism, such as Stephen Crane's Maggie: A Girl of the Streets.
becoming a femme fatale book pdf free
Although the perception of women in nineteenth-century American literature has always had its place in discussions of literary texts, this book is unique in its argument that women in American naturalism are neither weak nor passive, but rather strong and bold women diligently trying to find a way to fight back.
This book is an important addition to women's literature and studies
collections.
become a femme fatale ebook
In this work of feminist film criticism, Mary Ann Doane examines questions of sexual difference and knowledge in film, theoretical, and psychoanalytic discourses.
"Femmes Fatales'' examines Freud, the viewer, the meaning of the close-up, and the nature of stardom.
Doane's analyzes of figures such as Pabst's Lulu and Rita Hayworth's Gilda trace the theme and mechanics of masks, masquerade, and the veil, with particular attention to the form and technology of film.
Working through and against the intellectual frameworks of poststructuralist and psychoanalytic theory, Doane questions cinematic and theatrical truth claims about women that are based on judgments about vision and its stability or instability.
Reflecting the shift in conceptual priorities within feminist film theory over the past decade, "Femmes Fatales" addresses debates about the female viewer, essentialism and anti-essentialism, the tensions between psychoanalysis and history, and the relationships between racial and sexual difference.
Doane's nuanced and original readings of the "femme fatale" in film illustrate the confrontations between feminism, film theory, and psychoanalysis.
This book should be of interest to students and teachers of women's studies, communication studies, and film theory.
critique of postmodernity. Female revenge has also played a central role in the representation of contemporary film noir.
tions of powerful women. The role of the female avenger takes noir criminality beyond the portrayal of individual fictional characters to explore themes of exploitation and victimization of women in key social realities.
One of the most popular of these stories has been Gone Girl. As problematic as some elements of Gillian Flynn's book and Fincher's film are (the film lays claim to a feminist sensibility, yet exploits a fan base derived from wildly popular movies like Basic Instinct, wanting both), there are moments.
of clarity in history. regarding the nature of female rebellion against the oppressive roles women must play to succeed and maintain relationships.
If classic film noir featured women defying sexist prescriptions for acceptable roles and behavior, Gone Girl explains a "new sexism" that leads "Amazing Amy" to fake the role of "Cool Girl." “Cool Girl” is “warm and understanding,” illustrating the post-feminist expectation that women “[pretend] to be the woman a man wants them to be” (Flynn, 2012, 300).
The critique of the female role-playing in GoneGirl exemplifies Yvonne Tasker's view of why discussions of film noir and the femme fatale remain important:
The black woman is trapped in what today we might call a kind of reputation management; her actions, illicit or not, are explicitly framed by the need to appear in a certain way.
Thus, while film noir is undoubtedly organized around male desires and the male point of view, in its concern with appearance and perception, with the centrality of the image of women for their being in the world, the black films articulate concerns that are very important to women and feminism.