Framing female lawyers : women on trial in film
著者
書誌事項
Framing female lawyers : women on trial in film
University of Texas Press, 2005
- : pbk
大学図書館所蔵 全1件
注記
Includes bibliographical references (p. [251]-256) and index
内容説明・目次
内容説明
As real women increasingly entered the professions from the 1970s onward, their cinematic counterparts followed suit. Women lawyers, in particular, were the protagonists of many Hollywood films of the Reagan-Bush era, serving as a kind of shorthand reference any time a script needed a powerful career woman. Yet a close viewing of these films reveals contradictions and anxieties that belie the films' apparent acceptance of women's professional roles. In film after film, the woman lawyer herself effectively ends up "on trial" for violating norms of femininity and patriarchal authority.
In this book, Cynthia Lucia offers a sustained analysis of women lawyer films as a genre and as a site where other genres including film noir, maternal melodrama, thrillers, action romance, and romantic comedy intersect. She traces Hollywood representations of female lawyers through close readings of films from the 1949 Adam's Rib through films of the 1980s and 1990s, including Jagged Edge, The Accused, and The Client, among others. She also examines several key male lawyer films and two independent films, Lizzie Borden's Love Crimes and Susan Streitfeld's Female Perversions. Lucia convincingly demonstrates that making movies about women lawyers and the law provides unusually fertile ground for exploring patriarchy in crisis. This, she argues, is the cultural stimulus that prompts filmmakers to create stories about powerful women that simultaneously question and undermine women's right to wield authority.
目次
Acknowledgments
Introduction
Chapter 1. The Law Is the Law: Adam's Rib and The Verdict
Chapter 2. Father Knows Best: Female Lawyers as Daughters in Music Box and Class Action
Chapter 3. Female Lawyers and the Maternal: The Client and Defenseless
Chapter 4. A Question of Genre: Jagged Edge and Guilty as Sin
Chapter 5. Female Power and Masculine Crisis: Genre Hybrids and Dual-Focus Narratives
Chapter 6. Genre, Gender, and Law: The Female Lawyer Narrative and Its Influence
Chapter 7. Feminist Address and Spectatorship in The Accused, Love Crimes, and Female Perversions
Conclusion: Female Lawyers in the Twenty-First Century
Notes
Filmography
Bibliography
Index
「Nielsen BookData」 より