Download International Cinema and the Girl: Local Issues, by Fiona Handyside, Kate Taylor-Jones PDF

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By Fiona Handyside, Kate Taylor-Jones

From Dorothy within the Wizard of oz. to Bella Swan in Twilight, the lady has been a subject matter of severe cinematic curiosity. This assortment considers the specificity of women' studies and their cinematic articulation via a multicultural feminist lens which cuts around the divides of popular/art-house, Western/non Western, and north/south.

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Rebecca Munford and Melanie Waters, Feminism and Popular Culture: Investigating the Postfeminist Mystique (London: IB Tauris, 2014), p. 30. Sarah Gilligan, “Performing Postfeminist Identities,” p. 169. Yael Sherman, “Neoliberal Femininity in Miss Congeniality (2000),” in Feminism at the Movies: Understanding Gender in Contemporary Popular Film edited by Hilary Radner and Rebecca Stringer (London: Routledge, 2011), pp. 80–92 (80). Angela McRobbie, The Aftermath of Feminism: Gender, Culture and Social Change (London: Sage, 2009).

When her appointment with the politician is delayed, Gina asks Marco, without explanation, to take her to the swimming baths. Here she watches a performance of synchronized swimming, and suddenly falls ill. The scene cuts with an increasing pace between Gina’s point of view on two perspectives. One is the audience in the gallery behind her, scrutinizing Gina, whose absurdly elaborate dress in the sports center context marks her out as one of Projansky’s “scandal” girls. The other is the synchronized dancers whose performance, diving and rising from the water to a dramatic musical crescendo, and whose kohl-rimmed hostile gazes, seem to point with equal venom toward Gina.

All of these arise from France’s highly pronounced culture of gender differentiation historically. 23 Chicks perhaps more than any other film analyzed here also crystallizes how chick-flicks’ multivalency is further complicated by their transnational textual makeup in European contexts. ” The parade of girliness, revealed here in its grotesquely incongruous components, is thus marked as other, constructed through both the masculine and the foreign. Yet both the characters’ and the film’s precise relation to this, the culture that defines them, is left fluid and open to interpretation.

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