Postfeminism from a to G

Cinema Journal

Volumn 44, Issue 2, 2005, Pages 116-121

  Holmlund, Chris ^a  

^a UNIVERSITY OF TENNESSEE   (United States)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 60949762121     PISSN: 00097101     EISSN: None     Source Type: Journal    
DOI: 10.1353/cj.2005.0008     Document Type: Review

References (23)

1. For a similar breakdown, see Sarah Gamble, "Postfeminism," in Gamble, ed., Routledge Critical Dictionary of Feminism and Postfeminism (London: Routledge, 2000), 43-54
2. See, for example, Charlotte Brunsdon, Screen Tastes: Soap Opera to Satellite Dishes (London: Routledge, 1997)
3. Amelia Jones, "Feminism, Incorporated: Reading 'Postfeminism' in an Anti-Feminist Age," in Jones, ed., The Feminism and Visual Culture Reader (London: Routledge, 2003), 314-28
4. Sarah Projansky, Watching Rape: Film and Television in Postfeminist Culture (New York: NYU Press, 2001)
5. and Suzanne Danuta Walters, Material Girls: Making Sense of Feminist Cultural Theory (Berkeley: University of California Press, 1995), 116-42
6. More exceptionally, Holly Fisher's avant-garde feature Bullets for Breakfast (1992) was also termed postfeminist
7. See Peter Brunette, "Imag(in)ing Pictures: A Conversation with Holly Fisher," Film Quarterly 47, no. 2 (winter 1993-94): 2-7
8. See, for example, Tania Modleski's discussion of 3 Men and a Baby (1987) in Feminism without Women: Culture and Criticism in a "Postfeminist" Age (New York: Routledge, 1991), 76-89
9. and Aspasia Kotsopoulos and Josephine Mills's analysis of The Crying Game (1992) in "Gender, Genre, and 'Postfeminism,'" Jump Cut 39 (June 1994): 15-24
10. Out of Sight grossed box-office receipts of 837 million in the United States and was nominated for an Oscar for best screenplay based on material from another medium. Real Women Have Curves won the Sundance Film Festival's Audience Award and two Special Jury prizes (for Ferrara's and Ontiveros's acting) as well as the Independent Spirit Producer's Award. It grossed nearly $6 million in the United States
11. See "Biography for Jennifer Lopez," www.imdb.com/name/ nm00000182/bio
12. and Chris Holmlund, "Latinas in La-La Land," in Impossible Bodies: Femininity and Masculinity at the Movies (London: Routledge, 2003), 109-22
13. Cynthia Fuchs, "Maid in Manhattan," popmatters.com/film/ reviews/m/maid-of-manhattan.shtml
14. Linda Mizejewski, Hardboiled & High Heeled: The Woman Detective in Popular Culture (New York: Routledge, 2004), 154
15. www.imdb.com/title/tt0296166/usercmts-34
16. See Susan J. Douglas, "Manufacturing Post-feminism: Race, Youth Culture, and the Boundaries between Feminism and Post-feminism in American Mass Media," panel description for 2003 International Communication Association, www.convention.allacademic.com/ica2003/session_info.html
17. Elvis Mitchell, "Sweatshop or College? Guess Which One Mom's Pushing," www.nytimes.com/s002/10/18/movies/18REAL.html
18. Rayna Rapp, "Is the Legacy of Second-Wave Feminism Postfeminism? in Karen V. Hansen and Ilene J. Philipson, eds., Women, Class, and the Feminist Imagination: A Socialist-Feminist Reader (Philadelphia: Temple University Press, 1990), 361
19. Projansky, Watching Rape, 13
20. Brunsdon, Screen Tastes, 97
21. To reply that synthespians are often based on the "performance capture" of an actor's or a star's body and movements fails to account for the work of the animators, who "keyframe" "most of the ... subtle movements [so] significant to character psychology." Jody Duncan, "Flesh for Fantasy," Cinefex 86 (July 2001): 42
22. cited in Mary Desjardins, "'Just a Pause before Rebooting': Star Labor, Star Commodification, and the Emergence of the 'Synthespian,'" paper presented at the Society for Cinema and Media Studies conference, March 2003, Minneapolis
23. Barbara Creed, "The Cyberstar: Digital Pleasures and the End of the Unconscious," Screen 41, no. 1 (spring 2000): 80