By Jeanine Basinger
During this hugely readable and pleasing ebook, Jeanine Basinger indicates how the "woman's film" of the 30s, 40s, and 50s despatched a powerful combined message to hundreds of thousands of lady moviegoers. whilst that such motion pictures exhorted ladies to stay to their "proper" realm of guys, marriage, and motherhood, they portrayed -- frequently with delight in -- powerful ladies enjoying out freeing fantasies of energy, romance, sexuality, luxurious, even wickedness.
Never brain that the celluloid personas of Bette Davis, Myrna Loy, Katharine Hepburn, Joan Crawford, or Rita Hayworth see their folly and go back to their guy or lament his loss within the final 5 mins of the image; for the 1st eighty-five mins the viewers watched as those characters "wore nice outfits, sat on nice furnishings, enjoyed undesirable males, had plenty of intercourse, advised the area off for limiting them, even gave their youngsters away."
Basinger examines dozens of movies -- even if melodrama, screwball comedy, musical, movie noir, western, or biopic -- to make a persuasive case that the woman's movie used to be a wealthy, advanced, and subversive style that famous and addressed, if covertly, the issues of girls.
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Additional resources for A Woman's View: How Hollywood Spoke to Women, 1930-1960
46 The Levite, a substitute (and later, a bad) paternal figure,47 signifies and portends a negative and disruptive influence. Distraught that the girl has left him, the Levite follows her to her home in Bethlehem, determined to bring her back. The girl, “touched by the return of her husband,” agrees to return to the mountains of Ephraïm. Yet the girl’s father is particularly reluctant to give her up and tries repeatedly to prevent her from leaving. His reluctance indicates that he has not yet assumed the paternal function and consequently does not yet subscribe to the cultural prohibitions: the incest taboo, compulsory heterosexuality, and imperative to exogamic relations.
Furthermore, directly following the Mandeville example, Rousseau emphasizes pity’s generality by listing its visible effects in society. In fact, what are generosity, Clemency, Humanity, if not Pity applied to the weak, to the guilty, or to the human species in general? Benevolence and even friendship are, rightly understood, the products of a constant pity fixed on a particular object: for is desiring that someone not suffer anything but desiring that he be happy? Even should it be true that commiseration is only a feeling that puts us in the position of him who suffers— a feeling that is obscure and lively in Savage man, developed but weak in Civilized man—what would this idea matter to the truth of what I say, except to give it more force?
If by chance he made some discovery, he was all the less able to communicate it because he did not recognize even his Children. Art perished with the inventor. 1057/9781137010629 - Rousseau in Drag, Rosanne Terese Kennedy SEXUAL/POLITICAL INEQUALITY 23 others that are nonetheless quickly forgotten. As Tracy Strong has remarked in Jean-Jacques Rousseau: The Politics of the Ordinary : “There is literally nothing to humans in the state of nature. Thus the defining quality of the human is not to be defined or fixed: This is what we know as humans.