By Jackie Byars

ISBN-10: 020339738X

ISBN-13: 9780203397381

ISBN-10: 0203397789

ISBN-13: 9780203397787

ISBN-10: 041507116X

ISBN-13: 9780415071161

ISBN-10: 0807819530

ISBN-13: 9780807819531

All that Hollywood permits explores the illustration of gender in renowned Hollywood melodramas of the Nineteen Fifties. either a piece of feminist movie feedback and thought and an research of pop culture, this provocative publication examines from a cultural reports point of view top-grossing movie melodramas, corresponding to A Streetcar Named hope, From the following to Eternity, East of Eden, Imitation of lifestyles and Picnic. Stereotypically seen as a complacent and idyllic time, the Nineteen Fifties have been really a time of dislocation and nice social swap. Jackie Byars argues that mass media texts of the interval, particularly motion pictures, offer proof of society's eating preoccupation with the household sphere - the and its values - and he or she exhibits how Hollywood melodramas interpreted and prolonged societal debates referring to relations constitution, sexual divisions of labour, and gender roles. Her readings of those motion pictures examine quite a few serious methodologies and techniques to textual research, a few vital to feminist movie experiences and a few formerly bypassed by way of students within the box.

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Extra resources for All That Hollywood Allows: Rereading Gender in 1950's Melodrama (Gender and American Culture)

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Human subjectivity was re-theorized, and the concentration on historical, social, and cultural specificity called attention to the ideological practices that determine subjectivity. The social formation itself was reconceptualized, as a structure of relatively autonomous social practices; a concern with ideology was recognized as central, though a fascination with Foucault’s antihumanist rejection of individual agency and experience marks the 1980s version of the ongoing reconceptualization of ideology, with terms like discourse and subjectivity often eliding ideology.

The process does imply dominance but does not imply the sort of necessarily and inevitably continued dominance Gitlin indicated when he argued, first, that television keeps real alternatives off its (and the nation’s) agenda; second, that it is used by established social powers to colonize the consciousness (and the unconscious) of “the masses”; and finally, that alternative and oppositional forms are routinely incorporated and coopted or excluded. Within entertainment texts, Gitlin saw an inevitable move toward homogeneity, with no ongoing and serious resistance to dominance.

As Elizabeth Long has pointed out, mainstream American feminists have until recently manifested a blind spot toward British cultural studies because of a tendency toward “gender essentialism” and a sympathy with psychoanalytic theories that obscure questions of class and race. 34 And All That Hollywood Allows 30 finally, in contrast to the explicitly political British cultural studies scholars, firstgeneration American cultural studies scholars like Carey and Newcomb have often framed their work in relatively neutral terms, and their work has been labeled apolitical.

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All That Hollywood Allows: Rereading Gender in 1950's Melodrama (Gender and American Culture) by Jackie Byars


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