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Winner of first Prize in the BAFTSS Best Edited Collection competition, this volume examines how different generations of women work within the genericity of audio-visual storytelling not necessarily to 'undo' or 'subvert' popular formats, but also to draw on their generative force. Recent examples of filmmakers and creative practitioners within and outside Hollywood as well as women working in non-directing authorial roles remind us that women are in various ways authoring commercially and culturally impactful texts across a range of genres. Put simply, this volume asks: what do women who are creatively engaged with audio-visual industries do with genre and what does genre do with them? The contributors to the collection respond to this question from diverse perspectives and with different answers, spanning issues of direction, screenwriting, performance and audience address/reception.
Sommario
Preface (Christine Gledhill)
Introduction: Women’s Authorship and Genre in Contemporary Film and Television (Mary Harrod and Katarzyna Paszkiewicz)
Section 1: Women’s Authorship and Hollywood Genres
1. Performance and Gender Politics in Mary Harron’s Female Celebrity Anti-Biopics (Linda Badley)
2. When the Woman Directs (a Horror Film) (Katarzyna Paszkiewicz)
3. The Contemptible Realm of the Romcom Queen: Nancy Meyers, Cultural Value and Romantic Comedy (Deborah Jermyn)
4. Gendering the Post-9/11 Movie: Love, Loss and Regeneration in Nora Ephron’s Julie and Julia (Roberta Garrett)
Section 2: Genre Outside Hollywood
5. Comedy as a Feminist Strategy: Spanish Women Filmmakers Reclaim Laughter (Barbara Zecchi)
6. ‘Trois Femmes Puissantes’: Playing with Gender and Genres on French TV (Brigitte Rollet)
7. Breaking the Boundaries of Bollywood: Women in a ‘Man’s Industry’ (Sanghita Sen)
8. Gender Politics in Kelly Reichardt’s Feminist Western Meek’s Cutoff (Dawn Hall)
Section 3: Beyond the Director
9. 1990s Dark Comedy and the Female Screenwriter (Nicole Richter)
10. Melissa McCarthy: Gender, Class and Body Politics in Contemporary US Comedy (Frances Smith)
11. The Myth of Lena Dunham (Mary Harrod)
12. The Feminist Game of Thrones: Outlander and Gendered Discourses of TV Genre (Jorie Lagerwey)
13. A Hollywood of Our Own: Media Fandom as Female Artworld (Francesca Coppa)
Info autore
This volume examines how different generations of women work within the genericity of audio-visual storytelling not necessarily to ‘undo’ or ‘subvert’ popular formats, but also to draw on their generative force. Recent examples of filmmakers and creative practitioners within and outside Hollywood as well as women working in non-directing authorial roles remind us that women are in various ways authoring commercially and culturally impactful texts across a range of genres. Put simply, this volume asks: what do women who are creatively engaged with audio-visual industries do with genre and what does genre do with them? The contributors to the collection respond to this question from diverse perspectives and with different answers, spanning issues of direction, screenwriting, performance and audience address/reception.
Riassunto
Put simply, this volume asks: what do women who are creatively engaged with audio-visual industries do with genre and what does genre do with them? The contributors to the collection respond to this question from diverse perspectives and with different answers, spanning issues of direction, screenwriting, performance and audience address/recepti
