Torn, Burned, and Yet Dancing

2017 ◽  
Author(s):  
Alix Beeston
Keyword(s):  
Literary Text ◽  
Female Characters ◽  
Literary Field ◽  
In Series ◽  
Studio Era ◽  
Classical Hollywood ◽  
Mode Of Production

This chapter discusses the collaborative and institutionalized mode of production in studio-era Hollywood through the lens of the two major projects that comprised the work of the final year of F. Scott Fitzgerald’s life: the screenplay “Cosmopolitan” and the unfinished novel The Last Tycoon. These texts modify the modernist literary trope of the woman-in-series in concert with classical Hollywood’s defining logic of substitution and repetition. Ultimately derived from the basic seriality of the photogrammatic track, this logic is incarnated by female characters in “Cosmopolitan” and The Last Tycoon who, in refusing to remain silent substitutes for other women, rupture the illusory conceits of seamless fictional narration in classical Hollywood—and its equally seamless discourse of femininity. Fitzgerald’s Hollywood writing thus confronts the gendered and racialized limits of the modernist literary field and, in the process, unravels the myth of the solitary author and the singular, stable literary text.

scholarly journals Kako bih mogla da budem dobra ili o ženskom pismu Jagode Truhelke

2017 ◽  
Vol 11 (1) ◽  
pp. 51
Author(s):  
Katarina Ivon ◽  
Josipa Blažinović
Keyword(s):  
Special Reference ◽  
Gender Stereotypes ◽  
World View ◽  
Literary Text ◽  
Political Context ◽  
The Other ◽  
Traditional Society ◽  
Female Characters ◽  
Education Of Women ◽  
And Gender

The work examines the concept of a woman's letter of Jagoda Tuhelka with special reference to the novels: Plain air and Vojača and the educational epistle U carstvu duše (In the empire of the soul). With respect to the socio-political context of the end of the 19th and 20th centuries, efforts have been made to analyse the idea of the author's female emancipation and how to interpolate it in literary text. Its female poetics is directed to the education of women in traditional society as the basis of female emancipation while the author remains within the framework of the traditional world view supporting the male-female dichotomy and the wife and mother role meant for women. In line with this, the author conceives her female characters as active factors of their own destiny (Plain air), assigning them the function of putting forward their own ideas and developing the polemical discourse with patriarchy, while, on the other hand, her female characters become “innocent” victims of social circumstances and gender stereotypes (Vojača).

scholarly journals «Strong Curtains» and «Dramatic Punches»: The Legacy of Playwriting in the Screenwriting Manuals of the Studio Era

2021 ◽  
Vol 34 (1) ◽  
pp. 109-122
Author(s):  
Raffaele Chiarulli
Keyword(s):  
Golden Age ◽  
Narrative Structures ◽  
Art Form ◽  
The Sixties ◽  
History Of ◽  
Production Practices ◽  
Studio Era ◽  
Classical Hollywood Cinema ◽  
Narrative Conventions ◽  
Classical Hollywood

The Hollywood Golden Age was a revolutionary moment in the history of cinema and is pivotal to understanding the historical passage of a peculiar new art form –screenwriting. This early film period, from the Tens to the Sixties, was determined by key interactions between the respective forms of cinema and stage. Together, these interactions form a wider screenwriting “discourse.” There are reoccurring disputes in film scholarship over the paternity of the conventions and techniques of screenwriting. One solution is that techniques of theatre playwriting persisted extensively in the production practices of classical Hollywood cinema. Whether or not its professionals were aware of this is at the heart of this dispute. It is possible to identify the contribution of screenwriting manuals from Hollywood’s Golden Age toward the standardization of screenwriting techniques. The article aims to examine in the screenwriting manuals of this period some statements by practitioners who document the normalization and codification of the narrative structures used in screenwriting over time –in particular, the three-act structure. The validity and origin of the three-act structure are constantly debated among screenwriters. While this formula was known to the early writers of the Silent Era due to its legacy throughout centuries of playwriting and literature, it reappeared in the Seventies in the guise of a new theory. This article attempts to fill in certain gaps in the history of the theorization of screenwriting practices by juxtaposing statements found in screenwriting manuals and the statements of scholars and educators of this field. Ultimately, narrative conventions belonging to the tradition of theatre, as well as technological exigencies were integral in shaping the cinema techniques in use today.

Who’s That Girl?

2020 ◽  
pp. 176-214
Author(s):  
Landon Palmer
Keyword(s):  
Culture Wars ◽  
Illustrative Case ◽  
Star Image ◽  
History Of ◽  
The Media ◽  
Cultural Power ◽  
Film Cycles ◽  
Studio Era ◽  
Star Images ◽  
Classical Hollywood

Chapter 5 examines Madonna’s film career from the mid-1980s to the mid-1990s. Inspired by the star images of Marlene Dietrich, Marilyn Monroe, and Mae West, Madonna performed an interpretation of “Classical Hollywood” female glamour, attitude, and sexuality throughout the rise and peak of her music career. She sought to extend this image into distinct commercial film cycles of the 1980s and 1990s, including the downtown indie, the synergistic blockbuster, the sex thriller, and the prestige Oscar film. Madonna offers an illustrative case for the history of cinematic rock stardom at the end of the twentieth century. She pursued a screen career within arguably the final period in which stardom served as a central driving force in Hollywood’s economic logic, and this pursuit was manifested via her cinephilic interpretation of Hollywood’s legacy of platinum blonde sex symbols. At the same time, Madonna aspired to a cinematic star image during the apex of the music video’s economic and cultural power, seeking to translate her anti-censorship and pro-sex efforts established within the media realm into Hollywood filmmaking in the midst of the 1980s–1990s culture wars. Madonna’s film career epitomizes the issues driving this book, as it speaks to the discordance between older (studio-era Hollywood) and newer (the era of MTV and beyond) models of stardom.

scholarly journals Gender in Literature: Crossing the Lines of Individuals in a Philippine Fiction

2021 ◽  
Vol 1 (2) ◽  
pp. 38-47
Author(s):  
Mildred M. Crisostomo ◽  
Mark Joseph B. Layug
Keyword(s):  
Decision Making ◽  
Literary Text ◽  
The Other ◽  
Female Characters ◽  
Male Characters ◽  
Other Hand ◽  
The One ◽  
Gender Criticism

Under Gender Criticism, the researchers analysed Carlos Bulosan’s My Father Goes to Court to unveil the biases, stereotypes, issues, and tendencies as regard gender through the roles played by the characters in the story. Results show that on the surface, the male characters portrayed their roles based on what the society and culture accorded or dictated to them as authoritative, powerful, and dominant. Similarly, female characters were projected as powerless, weak, affective, and secondary to men. However, consciously or unconsciously, both characters crossed the borders and the lines of each other by performing roles not expected of them. On the one hand, male characters growled down to others, laughed their hearts out, and were protected. Then, on the other hand, female characters exercised power, showed leadership, manifested decision-making skills, and served as protectors. The researchers further revealed that gender is not a role to be played but an activity to be complete to avoid setting limits to any person’s tendencies. A study using the same literary text is recommended to continue its afterlife.

scholarly journals Contextualizing Gender’s Role in Kate Chopin’s The Awakening and Rajaa Alsanea’s Girls of Riyadh: A Comparative Historical Study

2021 ◽  
Vol 10 (2) ◽  
pp. 81
Author(s):  
Arwa Waleed Albader
Keyword(s):  
Gender Segregation ◽  
Literary Text ◽  
Comparative Approach ◽  
Historical Study ◽  
The Novel ◽  
Female Characters ◽  
Reciprocal Relationships ◽  
The Awakening

This study, through a new historicist comparative approach, strives to explore the dynamics of women in marriages and in friendships for Kate Chopin’s The Awakening and Rajaa Alsanea’s Girls of Riyadh. Although Chopin’s novel was written in 1899 and Alsanea’s in 2005, both received harsh condemnation and rejection in newspapers and book reviews when they were published, emphasizing gender`s role in both cultures. By explaining the reciprocal relationships between the texts and the newspaper reviews, and ephemera, this paper adds to scholarly understanding of how the newspapers and the critics` reflection for a certain literary text, as a human constant, can describe the gender segregation of the context`s time. Using textual analyses in the form of close readings of the female characters’ interactions with their partners and other women, and the struggle and experience of each women in both novels in terms of marriage, this paper will demonstrate links between the thoughts of critics as context and the novel as a creative historical output as both writers deftly caused great social discussions for change.

scholarly journals PEREMPUAN BURUK RUPA DI DALAM SASTRA

TELAGA BAHASA ◽  
2020 ◽  
Vol 7 (1) ◽  
pp. 109-116
Author(s):  
Wahyu Heriyadi
Keyword(s):  
Short Stories ◽  
Short Story ◽  
Literary Text ◽  
Main Character ◽  
Female Characters ◽  
Literature Research ◽  
Female Authors ◽  
Weak Phase ◽  
Women's Novels ◽  
Concept Of Beauty

AbstractThe concept of beauty written by the authors of Indonesian contemporary women at this time can be said to experience significant changes, these changes can also be said to be a resistance effort in literature that presents the ugly concept of female characters written by female authors. Ugly is no longer a weak phase, but it is increasingly becoming a force and even power that is presented through the ugly main character. Through literature research on contemporary Indonesian women's novels and short stories, namely Saman's novel by Ayu Utami, the short story of Mereka Bilang, Saya Monyet! The work of Djenar Maesa Ayu, the Wanita Berwajah Penyok by Ratih Kumala, and Si Manis dan Lelaki Ke Tujuh by Intan Paramaditha. The result obtained is that even though the ugly woman has been defeated but at the same time she must be presented in a literary text, or give symbolic resistance through the character of a bad female character apparently towards the establishment of a beauty ideology and patriarchy.Key words: Female, Ugly, Short Story, Novel AbstrakKonsep kecantikan yang ditulis oleh pengarang perempuan kontemporer Indonesia pada saat ini dapat dikatakan mengalami perubahan yang signifikan, perubahan tersebut juga dapat dikatakan sebuah upaya perlawanan di dalam sastra yang menghadirkan konsep buruk rupa pada tokoh perempuan yang ditulis oleh pengarang perempuan. Buruk supa bukan lagi sebagai suatu fase yang lemah, tetapi semakin hadir menjadi sebuah kekuatan bahkan kekuasaan yang dihadirkan melalui tokoh utamanya yang buruk rupa tersebut.Melalui penelitian pustaka pada novel dan cerpen karya perempuan Indonesia kontemporer yaitu Novel Saman karya Ayu Utami, cerpen Mereka Bilang, Saya Monyet! Karya Djenar Maesa Ayu, Wanita Berwajah Penyok karya Ratih Kumala, dan Si Manis dan Lelaki Ke Tujuh karya Intan Paramaditha. Hasil yang didapatkan adalah meskipun perempuan buruk rupa telah dikalahkan namun sekaligus ia harus dihadirkan dalam teks sastra, atau memberikan perlawanan yang simbolis melalui karakter tokoh perempuan buruk rupanya terhadap kemapanan ideologi kecantikan dan patriarki.Kata-kata kunci: Perempuan, Buruk Rupa, Cerpen, Novel

A Different Kind of Ballet

2014 ◽  
Author(s):  
Mary Simonson
Keyword(s):  
Twentieth Century ◽  
Male Gaze ◽  
Female Characters ◽  
American Modernism ◽  
Hollywood Cinema ◽  
Women's Relationships ◽  
The Future ◽  
Feminist Film ◽  
Classical Hollywood Cinema ◽  
Classical Hollywood

Dorothy Arzner’s 1940 filmDance, Girl, Dancehas been embraced within feminist film criticism as a stunning demonstration and critique of the “male gaze” so typical in classical Hollywood cinema. Tracing the lives and careers of two dancers, scholars argue, the film privileges strong female characters and women’s relationships with one another over heterosexual romance. Yet this essay argues thatDance, Girl, Danceis as much a film about the evolution of American dance in the twentieth century as it is about looking at women’s friendships. Juxtaposing Bubbles’s risqué burlesque routines and Judy’s sentimental divertissements with extended sequences of “modern” ballet,Dance, Girl, Dancegrafts contemporary debates about the future of American dance and the meaning of American modernism onto the bodies of Bubbles, Judy, and their fellow dancers.

The Classical Hollywood Cinema: Film Style & Mode of Production to 1960

Poetics Today ◽  
1986 ◽  
Vol 7 (1) ◽  
pp. 179 ◽  
Author(s):  
David Bordwell ◽  
Janet Staiger ◽  
Kristin Thompson
Keyword(s):  
Hollywood Cinema ◽  
Film Style ◽  
Classical Hollywood Cinema ◽  
Classical Hollywood ◽  
Mode Of Production

In and Out of Sight

2017 ◽  
Author(s):  
Alix Beeston
Keyword(s):  
Visual Culture ◽  
Gertrude Stein ◽  
Literary Form ◽  
John Dos Passos ◽  
Jean Toomer ◽  
Female Characters ◽  
Culture Studies ◽  
Visual Culture Studies ◽  
Moving Images ◽  
In Series

This book reappraises the connections between modernist writing and photography in the light of new work in visual culture studies that emphasizes the interplay between still and moving images. Arguing for the importance of photography to the work of four major modernist authors—Gertrude Stein, Jean Toomer, John Dos Passos, and F. Scott Fitzgerald—it proposes a new theory of composite literary form in the first half of the twentieth century. Segmented and reiterative, composite modernist writing is shaped by the figure of the woman-in-series, whose appearances and disappearances map its connective and disconnective structure. Understood in relation to the syntax of visual spacing in serial photography, the formal interstices that define modernist writing emerge as textual sites in which the dominant social and political order of modernity is negotiated and reshaped. These gaps signify both as marks of trauma, the wounds of representation according to typologies of race, gender, and class, and as a means for evading or defending against this trauma: a zone of withdrawal and recalcitrance for female characters. Moving in and out of sight, from presence to absence and back again, the woman-in-series in modernist writing destabilizes oppositions of power and vulnerability as they relate to the interactions of subjects and objects in the representational realm.

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