By Jackie Byars
All that Hollywood permits explores the illustration of gender in renowned Hollywood melodramas of the Fifties. either a piece of feminist movie feedback and concept and an research of pop culture, this provocative ebook examines from a cultural reports point of view top-grossing movie melodramas, comparable to A Streetcar Named hope, From the following to Eternity, East of Eden, Imitation of existence and Picnic. Stereotypically seen as a complacent and idyllic time, the Nineteen Fifties have been truly a time of dislocation and nice social swap. Jackie Byars argues that mass media texts of the interval, specially motion pictures, offer facts of society's eating preoccupation with the family sphere - the and its values - and she or he exhibits how Hollywood melodramas interpreted and prolonged societal debates pertaining to relations constitution, sexual divisions of labour, and gender roles. Her readings of those movies determine various serious methodologies and techniques to textual research, a few imperative to feminist movie stories and a few formerly bypassed by way of students within the box.
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Additional info for All That Hollywood Allows: Rereading Gender in 1950's Melodrama (Gender and American Culture)
The text controls its own reading. Laura Mulvey, in “Afterthoughts on ‘Visual Pleasure and Narrative Cinema’ Inspired by Duel in the Sun” (1981), argued for a second position. She argued that spectatorship is indeed gendered but that pleasure in film viewing is inaccessible to the “feminine” portions of the psyche; the female spectator calls up a long-repressed masculinity to engage in the transsexual identification that can allow her pleasure in film viewing. ” The response—more sophisticated than an essentialist argument in its use of feminine and masculine as terms not determined by biology—still assumes a passive (male or female) spectator, whose interpretation is controlled by the text itself.
A more satisfying and convincing notion of ideology developed and became dominant in British cultural studies during the 1970s and 1980s; this notion combined the useful aspects of Althusser’s theory with Gramsci’s notion that ideology is a hegemonic process that is multifaceted, constantly challenged, and constantly changing. The concept of hegemony carries much of the richness of Carey’s ritual model, but it also carries with it a critical stance and a recognition of the existence of power and dominance simultaneously with inequality and resistance within the ideological process.
Cultural studies scholars, however, proceed from the assumption that a “high culture”—“low culture” distinction is generally nonproductive, and the notion of “best” is itself a social construction. Culture, then, takes on an anthropological cast, referring instead to the historically specific meanings and values by which a society defines itself and the practices through which these meanings and values are expressed. Imagining the response of scholars in the traditional disciplines requires little creativity; for them, privileged definitions of culture, art, and literature are commonsensical, and theorizing them only presents a threat.
All That Hollywood Allows: Rereading Gender in 1950's Melodrama (Gender and American Culture) by Jackie Byars