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Frankly, My Dear
How and why has the saga of Scarlett O'Hara kept such a tenacious hold on our national imagination for almost three-quarters of a century? In the first book ever to deal simultaneously with Margaret Mitchell's beloved novel and David Selznick's spectacular film version ofGone with the Wind, film critic Molly Haskell seeks the answers. By all industry predictions, the film should never have worked. What makes it work so amazingly well are the fascinating and uncompromising personalities that Haskell dissects here: Margaret Mitchell, David Selznick, and Vivien Leigh. As a feminist and onetime Southern adolescent, Haskell understands how the story takes on different shades of meaning according to the age and eye of the beholder. She explores how it has kept its edge because of Margaret Mitchell's (and our) ambivalence about Scarlett and because of the complex racial and sexual attitudes embedded in a story that at one time or another has offended almost everyone.
Haskell imaginatively weaves together disparate strands, conducting her story as her own inner debate between enchantment and disenchantment. Sensitive to the ways in which history and cinema intersect, she reminds us why these characters, so riveting to Depression audiences, continue to fascinate 70 years later.
eBook
Feminist Film Theory
This anthology brings together the key statements from the main debates in feminist film theory in Britain and the United States since 1970. The book maps the impact of major theoretical developments - structuralist and semiotic theory; psychoanalysis; theories of ideology, language and discourse - on this growing field, in terms of both theoretical shifts and changes in methodologies. The relationship of feminist film theory to feminist media and cultural studies is outlined, as is the relationship between developments in feminist film theory and feminist film making. Includes readings from Laura Mulvey, Jacqueline Rose, Mary Ann Doane, Tania Modleski, Annette Kuhn, Jackie Stacey, Elizabeth Cowey, Linda Williams, bell hooks, Teresa de Lauretis. For the past twenty-five years, cinema has been a vital terrain on which feminist debates about culture, representation and identity have been fought. This anthology seeks to chart the history of those debates, bringing together the key statements in feminist film theory in Britain and the United States since 1970. The book maps the impact of major theoretical developments in this growing field - from structuralism and psychoanalysis to post-colonial theory, queer theory and postmodernism in the 1990s - interms of both theoretical shifts and changes in methodologies. Organised into six sections, the readings deal with a wide range of topics: oppressive images; \"woman\" as fetishised object of desire; female spectatorship; film audiences; issues of fantasy and desire in popular film; and the cinematic pleasures of black women and lesbian women. The centrality of a feminist \"politics of vision\" unites all the readings in this book.Key Features*Divided into six sections for ease of use: Taking up the Struggle; The Language of Theory; The Female Spectator; Textual Negotiations; Fantasy, Horror and the Body; Re-Thinking Differences*An introduction setting out the key debates in feminist film theory*Introductions to each s
eBook
Frankly, My Dear
How and why has the saga of Scarlett O'Hara kept such a tenacious hold on our national imagination for almost three-quarters of a century? In the first book ever to deal simultaneously with Margaret Mitchell's beloved novel and David Selznick's spectacula.
eBook
Daddy
\"DADDY,\" which may turn out to be the most controversial of the New Directors Series at the Museum of Modern Art (although advance rumors that \"Men hate it, women love it\" always make me want to join the other team) is a three- part fantasy in which Niki de St. Phalle as Agnes I, and the two girls who play the snaggle- tooth moppet Agnes II and the convent- chaste Lolita Agnes III, expose, abuse, tantalize, torture, and finally fling their collective arms around the memory of a father who in life alternated between indifference to and lust for his daughter, but who has finally shaped her emotional pattern as inalterably as Fate. First (or, as they kept saying on the Academy Awards, firstly) Agnes I has adolescent Agnes shimmy and slowly remove her schoolgirl frock in front of an altar, the centerpiece of a church that is actually a bar, with mirror- top tables and leering playboys. Village Voice 1973 Daddy Revisited, 2011 The Peter Whitehead- Niki de Saint Phalle fantasia of Oedipal revenge still looks as uneven as it did in 1973, when it played at the Museum of Modern Art, New Director Series: a provocative if narrowly personal send- up of an abusing father and the droit du seigneur of God- inspired patriarchy.
Journal Article
American experience. 1964. Interview with Molly Haskell
It was the year of the Beatles and the Civil Rights Act; of the Gulf of Tonkin and Barry Goldwater's presidential campaign; the year that cities across the country erupted in violence and Americans tried to make sense of the Kennedy assassination. Based on The Last Innocent Year: America in 1964 by award-winning journalist Jon Margolis, this film follows some of the most prominent figures of the time - Lyndon B. Johnson, Martin Luther King, Jr., Barry Goldwater, Betty Friedan - and brings out from the shadows the actions of ordinary Americans whose frustrations, ambitions and anxieties began to turn the country onto a new and different course. This film is an interview with film critic Molly Haskell.
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