Gender Meets Genre in Postwar Cinemas.

Cover -- Title Page -- Copyright -- Contents -- Acknowledgments -- Introduction -- PART ONE. REFIGURING GENRE AND GENDER -- 1 The Genius of Genre and Ingenuity of Women -- 2 No Fixed Address: The Women's Picture from Outrage to Blue Steel -- 3 Circulating Emotion: Race, Gender, and Genre in Crash -- 4 100% Pure Adrenaline: Gender and Generic Surface in Point Break -- PART TWO. POSTFEMINISM AND GENERIC RE-INVENTIONS -- 5 Troubling Genre/Reconstructing Gender -- 6 Bodies and Genres in Transition: Girlfight and Real Women Have Curves -- 7 Private Femininity, Public Femininity: Tactical Aesthetics in the Costume Film -- 8 Generic Gleaning: Agnès Varda, Documentary, and the Art of Salvage -- PART THREE. GENDER AESTHETICS IN "MALE" GENRES -- 9 It's a Mann's World? -- 10 Up Close and Personal: Faces and Names in Casualties of War -- 11 Gender Hyperbole and the Uncanny in the Horror Film: The Shining -- PART FOUR. GENRE AND GENDER TRANSNATIONAL -- 12 Emotion, Subjectivity, and the Limits of Desire: Melodrama and Modernity in Bombay Cinema, 1940s- -- 13 Woman, Generic Aesthetics, and the Vernacular: Huangmei Opera Films from China to Hong Kong -- Chapter 14 Homoeroticism Contained: Gender and Sexual Translation in John Woo's Migration to Hollyw -- PART FIVE. GENERIC "TRANS-INGS": BETWEEN GENRES, GENDERS, AND SEXUALITIES -- 15 Trash Comes Home: Gender/Genre Subversion in the Films of John Waters -- 16 Femme Fatale or Lesbian Femme: Bound in Sexual Différance -- 17 "The Gay Cowboy Movie": Queer Masculinity on Brokeback Mountain -- Contributors -- Index.

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Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, 2024. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries.