Excusing the violence of Hollywood women: Music in Nikita and Point of No Return

Screen

Volumn 40, Issue 1, 1999, Pages 51-65

  MacRory, Pauline ^a  

^a NONE

Author keywords

[No Author keywords available]

Indexed keywords

EID: 61249655233     PISSN: 00369543     EISSN: None     Source Type: Journal    
DOI: 10.1093/screen/40.1.51     Document Type: Review

References (10)

1. Yvonne Tasker, Spectacular Bodies: Gender, Genre and the Action Cinema (London: Routledge, 1993). p. 132
2. Jeffrey A. Brown, 'Gender and the action heroine: hardbodies and the Point of No Return', Cinema Journal, vol. 35, no. 3 (1996), p. 53
3. Martin Shingler, 'Masquerade or drag? Bette Davis and the ambiguities of gender'. Screen, vol. 36. no. 3 (1995)
4. Chris Holmlund, 'Cruisin' for a bruisin': Hollywood's deadly (lesbian) dolls', Cinema Journal, vol. 34. no. 1 (1994), p. 32
5. Kathryn Kalinak, 'The fallen woman and the virtuous wife: musical stereotypes in The Informer, Gone With the Wind and Laura', Film Reader, no. 5 (1982), p. 76
6. Claudia Gorbman, Unheard Melodies (London: BFI Publishing, 1987), p. 13
7. Simon Frith, 'Mood music: an enquiry into narrative film music' Screen vol. 25. no. 3 (1984), p. 84
8. Kalinak, 'The fallen woman', p. 76
9. Tasker, Spectacular Bodies, p. 138
10. Thomas M. Leitch, 'Nobody here but us killers: the disavowal of violence in recent American films', Film and Philosophy, vol. 1 (1994), p. 74