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No detailed description available for "No End to Her".
List of contents
LIST OF ILLUSTRATIONS
ACKNOWLEDGMENTS
Prologue: An Invitation to Recovery
1
No End to Her: The Place of Soap Opera as Screen Fiction
Soap Opera, Femininity, and Desire
Soap Opera, Mainstream Critical Discourse, and Desire
Freudian Film Criticism, the Screen Subject, and Desire
Narrative Syntax and Desire
A Differently Gendered Screen, a Different Narrative Myth
Conclusion: The Female Subject of Soap Opera
2
Persephone, Not Oedipus: Soap Opera and the Fantasy Female Subject before 1978
Releasing the Screen Heroine from Bond-age
The Radio Heroine
The Early Television Heroine
The Importance of Being Victoria Lord
Conclusion
3
The Fantasy Female Subject after 1978
General Hospital: Crooks in the Crannies
Days of Our Lives: Energizing the Narrative of the Couple
Santa Barbara: Julia's New Frontier
Conclusion
4
Persephone's Labyrinth: The Aesthetics of an Involuntary Feminine Discourse
Suspense
Multi plots
Melodrama
Actor Chemistry and Soap Opera Melodrama
Conclusion
5
Persephone's "Wild Zone": Difference, Interiority, and Linear
Historicity in Soap Opera
Historical Difference: Culture and Religion
Historical Difference: Race
Historical Difference: Homosexuality
Interiority: A Different History
Conclusion
Epilogue: What Is Normal?
NOTES
REFERENCES
INDEX OF SOAP OPERA CHARACTERS
INDEX
About the author
Martha Nochimson teaches at New York University and at Mercy College. Not content with a purely academic approach to her subject, she spent several years as a writer for Ryan's Hope, Search for Tomorrow, Guiding Light, Loving, and Santa Barbara.
Summary
Demonstrates how soap opera validates an essentially feminine perspective. Drawing on psychoanalytic theory and feminist film criticism, this title explores the ways in which soap opera has inverted the typical male-centered narrative characterized by a domineering, Oedipal father-son relationship that serves to control female energy.
