Titlebook: Rethinking the Femme Fatale in Film Noir; Ready for Her Close- Julie Grossman Book 2009 Julie Grossman 2009 culture.film.gender.women

熱愛

書目名稱Rethinking the Femme Fatale in Film Noir影響因子(影響力)




書目名稱Rethinking the Femme Fatale in Film Noir影響因子(影響力)學(xué)科排名




書目名稱Rethinking the Femme Fatale in Film Noir網(wǎng)絡(luò)公開度




書目名稱Rethinking the Femme Fatale in Film Noir網(wǎng)絡(luò)公開度學(xué)科排名




書目名稱Rethinking the Femme Fatale in Film Noir被引頻次




書目名稱Rethinking the Femme Fatale in Film Noir被引頻次學(xué)科排名




書目名稱Rethinking the Femme Fatale in Film Noir年度引用




書目名稱Rethinking the Femme Fatale in Film Noir年度引用學(xué)科排名




書目名稱Rethinking the Femme Fatale in Film Noir讀者反饋




書目名稱Rethinking the Femme Fatale in Film Noir讀者反饋學(xué)科排名

瑪瑙

遵循的規(guī)范

Introduction “No One Mourns the Wicked”imization by Devlin, her exploitation by the government men who use her as a pawn to seduce the strangely vulnerable fascist Alex Sebastian (Claude Rains), and her weary resignation to becoming the “fatal” woman, don’t tend to register in critical discussions of the film as part of a larger pattern of misreading women in film noir.

殺菌劑

Film Noir’s “Femmes Fatales”: Moving Beyond Gender Fantasiesnt not only to extend emphases by critics such as Christine Gledhill, Elizabeth Cowie, and Jans Wager on how noir speaks to women but also to show the striking extent to which “femmes fatales”—seductresses whose desires and malevolence are seemingly unmotivated—don’t in fact exist in the noir movies in which so-called bad women appear.

減去

Choreography

Film Noir’s “Femmes Fatales”: Moving Beyond Gender Fantasieshan in the culture’s preoccupation with the “femme fatale,” a figure I want to identify as a phantom, an illusion and myth that I wish not so much to kill, but to deconstruct as a category that feeds cultural gender fantasies. Feminist film critics have long recognized the ideological power of the “

專心

“Well, aren’t we ambitious”: Desire, Domesticity, and the “Femme Fatale,” or “You’ve made up your miviewers and critics who then perpetuate, and eventually institutionalize, these misreadings. The first part of my title comes from an early scene in ., the film adapted from James Cain’s novel and directed by Tay Garnett in 1946. ., featuring John Garfield as Frank Chambers and Lana Tuner as Cora Sm

–FER

Psychological Disorders and “Wiretapping the Unconscious”: Film Noir Listens to Women you a lift.” The language of kicking and punching as a response to the exigencies of modern life echoes Annie Laurie’s demands in Joseph Lewis’s ., released, interestingly, in 1950, the same year as was .. Says Annie Laurie (Peggy Cummins), “I’ve been kicked around all my life. From now on, I’m goi

健忘癥

FEAS

Looking Forward: Deconstructing The “Femme Fatale”original-cycle film noir text that certainly influenced Lynch’s film significantly. I want to end with a discussion of . because I believe it points toward unraveling some of the problems with representations of female agency I’ve addressed throughout this study. . takes on the project of deconstruc