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Call No: 81MON WOL
Author: Wolfe, Donald H.
Source: US
Place: London
Publisher: Little Brown and Company
PubDate: 1998
PhysDes: 532 p. : ill. ; 25 cm
Subject: TWENTIETH CENTURY-FOX; MONROE, MARILYN; MILLER, ARTHUR; MONTAND, YVES; KENNEDY, JOHN F.; SINATRA, FRANK; ZANUCK, DARRYL F.; PRINCE AND THE SHOWGIRL, THE (UK, Laurence Olivier, 1957); BUS STOP (US, Joshua Logan, 1956); LET'S MAKE LOVE (US, George Cukor, 1960); SOME LIKE IT HOT (US, Billy Wilder, 1959)
ISBN: 0316640190

Call No: 81WIL DIC
Author: Dick, Bernard F.
Source: US
Place: Boston
Publisher: Twayne Publishers
PubDate: 1980
PhysDes: 188 p. : ill. ; 21 cm
Series: Twayne's Theatrical Arts Series
Subject: WILDER, BILLY; APARTMENT, THE (US, Billy Wilder, 1960); AVANTI (US, Billy Wilder, 1972); ACE IN THE HOLE (US, Billy Wilder, 1951); DOUBLE INDEMNITY (US, Billy Wilder, 1944); FEDORA (GW/FR, Billy Wilder, 1978); [FIVE] 5 GRAVES TO CAIRO (US, Billy Wilder, 1943); FORTUNE COOKIE, THE (US, Billy Wilder, 1966); FRONT PAGE, THE (US, Billy Wilder, 1974); IRMA LA DOUCHE (US, Billy Wilder, 1963); KISS ME, STUPID (US, Billy Wilder, 1964); LOST WEEKEND, THE (US, Billy Wilder, 1945); LOVE IN THE AFTERNOON (US, Billy Wilder, 1957); MAJOR AND THE MINOR, THE (US, Billy Wilder, 1942); ONE, TWO, THREE (US/GW, Billy Wilder, 1961); PRIVATE LIFE OF SHERLOCK HOLMES, THE (US/UK, Billy Wilder, 1970); SABRINA (US, Billy Wilder, 1954); SOME LIKE IT HOT (US, Billy Wilder, 1959); SEVEN YEAR ITCH, THE (US, Billy Wilder, 1955); SPIRIT OF ST. LOUIS, THE (US, Billy Wilder, 1957); STALAG 17 (US, Billy Wilder, 1952); SUNSET BOULEVARD (US, Billy Wilder, 1950); WITNESS FOR THE PROSECUTION (US, Billy Wilder, 1957)
Notes: Includes index. Bibliography: p. 173-174. Filmography: p. 175-183.
ISBN: 0805792740
Donation: donated by the family of Wayne Levy, 2006

Call No: 64GEN FIL
Author: Grant, Barry Keith, 1947
Edition: 1st ed
Place: Austin
Publisher: University of Texas Press
PubDate: 1995
PhysDes: viii, 581 p. : ill. ; 24 cm
Subject: GENRES; WESTERNS; GANGSTER FILMS; FILM NOIR; DISASTER FILMS; EPIC FILMS; HORROR FILMS; MELODRAMA; COMEDIES; TRANSVESTISM; WOMEN IN FILMS; VIETNAM WAR FILMS; MUSICALS; ETHNIC GROUPS IN FILMS; CANADA; AUTEUR THEORY; NARRATIVE IN FILMS; DETECTIVE FILMS; FEMINISM AND THE CINEMA; HOMOSEXUALITY AND THE CINEMA; HISTORICAL FILMS; PHILOSOPHY AND THE CINEMA; PORNOGRAPHY AND THE CINEMA; PSYCHOANALYSIS AND THE CINEMA; SCIENCE-FICTION FILMS; SEMIOLOGY; STRUCTURALISM; HITCHCOCK, ALFRED; MICHEAUX, OSCAR; CRONENBERG, DAVID; FORD, JOHN; PENN, ARTHUR; SIRK, DOUGLAS; CAVELL, STANLEY; CHANDLER, RAYMOND; FRYE, NORTHROP; MINNELLI, VINCENTE; TODOROV, TZVETAN; ZOO LA NUIT, UN (CN, Jean-Cluade Lauzon, 1987); SOME LIKE IT HOT (US, Billy Wilder, 1959); SHADOW OF A DOUBT (US, Alfred Hitchcock, 1943); BARKLEYS OF BROADWAY, THE (US, Charles Walters, 1949); YENTL (US, Barbara Streisand, 1983); IT HAPPENED ONE NIGHT (US, Frank Capra, 1934); IT'S A WONDERFUL LIFE (US, Frank Capra, 1946); MY DARLING CLEMENTINE (US, John Ford, 1946); STAGECOACH (US, John Ford, 1939); SINGIN' IN THE RAIN (US, Gene Kelly & Stanley Donen, 1952); THING, THE (US, Christian Nyby, 1951); [TWENTY] 20 MILLION MILES TO EARTH (US, Nathan Juran, 1957); VICTOR VICTORIA (UK, Blake Edwards, 1982); WRITTEN ON THE WIND (US, Douglas Sirk, 1956); NIGHT OF THE LIVING DEAD (US, George A. Romero, 1968); FLY, THE (US, David Cronenberg, 1986); DESPERATELY SEEKING SUSAN (US, Susan Seidelman, 1985); CHINATOWN (US, Roman Polanski, 1974); APOCALYPSE NOW (US, Francis Ford Coppola, 1979); CHINATOWN (US, Roman Polanski, 1974)
Notes: Includes bibliographical references (p. [495]-559) and index
ISBN: 0292727771 (cloth : alk. paper); 029272778X (pbk. : alk. paper)
LON: 11563059

Call No: 721.217 DOL
Author: Doll, Susan; Morrow, David
Edition: 1st ed.
Source: US
Place: Gainesville, FL
Publisher: University Press of Florida
PubDate: 2007
PhysDes: xiv, 394 p. : ill. ; 24 cm
Subject: MOTION PICTURES - HISTORY; USA; LOCATION SHOOTING. USA: FLORIDA; BATTLE ROYALE (JA, Kinji Fukasaku, 2000); WHITE ROSE, THE (US, David Wark Griffith, 1923); KEY LARGO (US, John Huston, 1948); PALM BEACH STORY, THE (US, Preston Sturgess, 1942); ROSE TATTOO, THE (US, Daniel Mann, 1955); BODY HEAT (US, Lawrence Kasdan, 1981); CAPE FEAR (US, Martin Scorsese, 1991); CHINA MOON (US, John Bailey, 1994); FLASH OF GREEN, A (US, Victor Nunez, 1984); NIGHT MOVES (US, Arthur Penn, 1975); OUT OF TIME (US, Carl Franklin, 2003); PALMETTO (US, Volker Schlondorff, 1998); WILD THINGS (US, John McNaughton, 1998); ABSENCE OF MALICE (US, Sydney Pollack, 1981); BIRDCAGE, THE (US, Mike Nichols, 1996); FLIPPER (US, Alan Shapiro, 1996); HEARTBREAK KID, THE (AT, Michael Jenkins, 1993); MEAN SEASON, THE (US, Phillip Borsos, 1985); MIAMI BLUES (US, George Armitage, 1990); SCARFACE (US, Brian DePalma, 1984); BRENDA STARR (US, Robert Ellis Miller, 1989 [prod. 1986]); HEALTH (US, Robert Altman, 1980); JAWS 3-D (US, Joe Alves, 1983); SMOKEY AND THE BANDIT - PART III (US, Dick Lowry, 1983); BLOOD AND WINE (US, Bob Rafelson, 1996); COCOON (US, Ron Howard, 1985); CROSS CREEK (US, Martin Ritt, 1983); DAYS OF THUNDER (US, Tony Scott, 1990); JUST CAUSE (US, Arne Glimcher, 1995); ROSEWOOD (US, John Singleton, 1997); STICK (US, Burt Reynolds, 1985); SUNSHINE STATE (US, John Sayles, 2002); ULEE'S GOLD (US, Victor Nunez, 1997); ACE VENTURA, PET DETECTIVE (US, Tom Shadyac, 1994); BAD BOYS (US, Michael Bay, 1995); MATINEE (CN, Richard Wayne Martin, 1989); SOME LIKE IT HOT (US, Billy Wilder, 1959); STRIPTEASE (US, Andrew Bergman, 1996); TRUE LIES (US, James Cameron, 1994); MIDNIGHT COWBOY (US, John Schlesinger, 1969); RUBY IN PARADISE (US, Victor Nunez, 1993); RUNNING SCARED (US, Peter Hyams, 1986); STRANGER THAN PARADISE (US/GW, Jim Jarmusch, 1984); SUMMER RENTAL (US, Carl Reiner, 1985); AIR FORCE (US, Howard Hawks, 1943); CREATURE FROM THE BLACK LAGOON (US, Jack Arnold, 1954); JEEPERS CREEPERS (US, Victor Salva, 2001); PARENTHOOD (US, Ron Howard, 1989)
Summary: "Florida on Film is a tour of the movies and locations that have made the state famous on the silver screen. Susan Doll and David Morrow discuss more than eighty films, including cast and credits lists and behind-the scenes revelations about the filmmakers and stars. Each section concludes with a detailed Movie Tourist's Guide to sites connected to the films."--BOOK JACKET
Notes: Includes bibliographical references (p. 369-382) and index
ISBN: 9780813030456
Donation: Donated by Senses Of Cinema, 2009

Call No: 749.5 BEL
Author: Bell-Metereau, Rebecca Louise
Edition: 2nd ed
Place: New York
Publisher: Columbia University Press
PubDate: 1993
PhysDes: xxii, 345 p. : ill. ; 23 cm
Subject: TRANSVESTISM; AIDS IN FILMS; ART CINEMA. EUROPEAN COUNTRIES; UNDERGROUND FILMS; HOMOSEXUALITY IN FILMS; SEX IN FILMS; WESTERNS; WILDER, BILLY; GARBO, GRETA; HEPBURN, KATHARINE; CURTIS, TONY; DIETRICH, MARLENE; MADONNA; MONROE, MARILYN; SCOTT, RIDLEY; ADLER, LOU; DAY, DORIS; CROSBY, BING; EDWARDS, BLAKE; GRANT, CARY; LEMMON, JACK; REA, STEPHEN; SHERIDAN, ANN; YENTL (US, Barbara Streisand, 1983); VICTOR VICTORIA (UK, Blake Edwards, 1982); ALIEN [...] (UK/US, 1979-92); CAGE AUX FOLLES, LA (FR/IT, Edouard Molinaro, 1978); CALAMITY JANE (US, David Butler, 1953); COME BACK TO THE FIVE AND DIME JIMMY DEAN, JIMMY DEAN (US, Robert Altman, 1982); CRYING GAME, THE (UK, Neil Jordan, 1992); I WAS A MALE WAR BRIDE (US, Howard Hawks, 1949); KILLING OF SISTER GEORGE, THE (US, Robert Aldrich, 1968); SOME LIKE IT HOT (US, Billy Wilder, 1959); THELMA & LOUISE (US, Ridley Scott, 1991); JOHNNY GUITAR (US, Nicholas Ray, 1954); PSYCHO (US, Alfred Hitchcock, 1960); DRESSED TO KILL (US, Brian De Palma, 1980); BLUE VELVET (US, David Lynch, 1986); WORLD ACCORDING TO GARP, THE (US, George Roy Hill, 1982); TOOTSIE (US, Sydney Pollack, 1982); SYLVIA SCARLETT (US, George Cukor, 1935); ROCKY HORROR PICTURE SHOW, THE (UK, Jim Sharman, 1975); QUEEN CHRISTINA (US, Rouben Mamoulian, 1934); PLAINSMAN, THE (US, Cecil B. DeMille, 1936); PARIS IS BURNING (US, Jennie Livingston, 1990); NO WAY TO TREAT A LADY (US, Jack Smight, 1968); MYRA BRECKENRIDGE (US, Mike Sarne, 1970)
Notes: Includes bibliographical references (p. [315]-327) and index
ISBN: 0231084676 (acidb-sfree paper)
LON: 10110408

Call No: 451-01/02 BEL
Author: Bell-Metereau, Rebecca Louise
Place: New York
Publisher: Columbia University Press
PubDate: 1985
PhysDes: x, 260 p. : ill. ; 24 cm
Subject: TRANSVESTISM; ALIEN (UK, Ridley Scott, 1979); SOME LIKE IT HOT (US, Billy Wilder, 1959); I WAS A MALE WAR BRIDE (US, Howard Hawks, 1949); ROCKY HORROR PICTURE SHOW, THE (UK, Jim Sharman, 1975); DRESSED TO KILL (US, Brian De Palma, 1980); TOOTSIE (US, Sydney Pollack, 1982); VICTOR/VICTORIA (UK, Blake Edwards, 1982); YENTL (US, Barbara Streisand, 1983)
Notes: Includes index
ISBN: 0231058349 (alk. paper)
LON: 84016984; 3316437
Contents: -- Ch. 1. An Overview -- Ch. 2. Female Impersonation Before 1960 -- Ch. 3. Male Impersonation Before 1960 -- Ch. 4. 1960-1985 New Directions -- Ch. 5. 1960 to the Present: Other Screens, Other Voices

Call No: 732(73) LAU
Author: Sikov, Ed
Place: New York
Publisher: Columbia University Press
PubDate: 1994
PhysDes: xvii, 282 p., [24] p. of plates : ill. ; 24 cm
Subject: COMEDIES. USA; TRANSVESTISM; HOMOSEXUALITY IN FILMS. USA; LEWIS, JERRY; MARTIN, DEAN; MONROE, MARILYN; SWANSON, GLORIA; MANSFIELD, JAYNE; RUSSELL, JANE; HAWKS, HOWARD; WILDER, BILLY; HITCHCOCK, ALFRED; TASHLIN, FRANK; ARTISTS AND MODELS (US, Frank Tashlin, 1955); GIRL CAN'T HELP IT, THE (US, Frank Tashlin, 1956); GENTLEMEN PREFER BLONDES (US, Howard Hawks, 1953); MONKEY BUSINESS (US, Howard Hawks, 1952); SEVEN YEAR ITCH, THE (US, Billy Wilder, 1955); SOME LIKE IT HOT (US, Billy Wilder, 1959); STALAG 17 (US, Billy Wilder, 1952); SUNSET BOULEVARD (US, Billy Wilder, 1950); TROUBLE WITH HARRY, THE (US, Alfred Hitchcock, 1955); WILL SUCCESS SPOIL ROCK HUNTER? (US, Frank Tashlin, 1957)
Summary: With the likes of Billy Wilder, Howard Hawks, Alfred Hitchcock, and Frank Tashlin revelling in "monkeys, babies, beautiful blondes, money, and cruelty" in their signature films of the 1950s, this seemingly conformist period turns out to be one of the most dynamic and original eras in Hollywood history. What distinguishes these directors is their candid and amusing exploration of cultural anxieties in carnival form. Quirky yet complex films such as Monkey Business, Gentlemen Prefer Blondes, Sunset Boulevard, The Trouble with Harry, and Will Success Spoil Rock Hunter? released and expressed the sexual repression and frustration we commonly associate with the decade
Notes: Includes bibliographical references (p. [257]-267) and index
ISBN: 0231079826 (alk. paper)
LON: 93048900; 10679624

Call No: 81MON ZOL
Author: Zolotow, Maurice
Source: UK
Place: London
Publisher: Allen
PubDate: 1961
PhysDes: 333 p. : ill. ; 23 cm
Subject: MONROE, MARILYN; PRINCE AND THE SHOWGIRL, THE (UK, Laurence Olivier, 1957); SOME LIKE IT HOT (US, Billy Wilder, 1959); SEVEN YEAR ITCH, THE (US, Billy Wilder, 1955); BUS STOP (US, Joshua Logan, 1956); ALL ABOUT EVE (US, Joseph L. Mankiewicz, 1950); MONKEY BUSINESS (US, Howard Hawks, 1952); GENTLEMEN PREFER BLONDES (US, Howard Hawks, 1953); NIAGARA (US, Henry Hathaway, 1952); RIVER OF NO RETURN (AT, Darlene Johnson, 2008); HOW TO MARRY A MILLIONAIRE (US, Jean Negulesco, 1953)
Summary: Maurice Zolotow as the result of six years research, a large amount of correspondence and many interviews was able to build a history of Marilyn Monroe, beginning with her childhood, and experiences of orphanages, foster homes, abuse and psychosomatic illnesses, and finishing with her life as an accomplished actress, and he manages to show a connection between these two parts of Marilyn Monroe's life.
LON: nla08225307; 9360140

Call No: 81MON PEP
Author: Pepitone, Lena; Stadiem, William
Source: US
Place: New York
Publisher: Pocket Books
PubDate: 1980, c1979
PhysDes: 223 p., [16] p. of plates : ill ; 18cm
Subject: MONROE, MARILYN; MILLER, ARTHUR; MONTAND, YVES; SOME LIKE IT HOT (US, Billy Wilder, 1959)
Summary: Lena Pepitone looks at the last six years of the life of Marilyn Monroe: her marriage to Arthur Miller, her greatest film "Some like it hot", and her affair with Yves Montand. The author looks at Marilyn Monroe's use of drugs, sex and alcohol [
ISBN: 0671830384

Call No: 451-01 COH
Author: Cohan, Steven
Place: Bloomington
Publisher: Indiana University Press
PubDate: c1997
PhysDes: xxi, 346 p. : ill. ; 25 cm
Series: Arts and politics of the everyday
Subject: MASCULINITY IN FILMS; GENDER AND THE CINEMA; HOMOSEXUALITY AND THE CINEMA; BISEXUALITY AND THE CINEMA; CLASS AND THE CINEMA; COLD WAR AND THE CINEMA; BOGART, HUMPHREY; BRANDO, MARLON; CLIFT, MONTGOMERY; CURTIS, TONY; GRANT, CARY; HOLDEN, WILLIAM; HESTON, CHARLTON; HUDSON, ROCK; PICNIC (US, Joshua Logan, 1955); PILLOW TALK (US, Michael Gordon, 1959); PLACE IN THE SUN, A (US, George Stevens, 1951); SOME LIKE IT HOT (US, Billy Wilder, 1959); TEN COMMANDMENTS, THE (US, Cecil B. DeMille, 1956); RED RIVER (US, Howard Hawks, 1948)
Summary: When we think of the films of the 1950s, we inevitably remember the confident swagger of John Wayne, the suave sophistication of Cary Grant, and the emotional intensity of Marlon Brando. But today's culture critics see in the decade a period when heterosexual/homosexual dualism came to dominate the representation of American masculinity. Masked Men documents how movies of the 1950s represented masculinity as a multiple masquerade. Hollywood depicted the sexual anxieties of the domesticated breadwinner, the repudiation of wartime homoerotic male bonding, the exhibitionism of muscular bodies, the transvestic connotations of boyishness, and the playboy bachelor apartment. These presentations challenged the postwar ideal of the typical American male, that omnipresent and seemingly invisible Man in a Gray Flannel Suit
Notes: Includes bibliographical references (p. [323]-335) and index; Filmography: p. [321]-322
ISBN: 0253211271 (pa : alk. paper); 0253332974 (cl : alk. paper)
LON: 12951206

Call No: 792(047.1) GEL
Author: Van Gelder, Peter
Place: London
Publisher: Aurum
PubDate: 1990
PhysDes: 288 p. : ill. ; 24 cm
Subject: FLYING HIGH II [; ANNIE HALL (US, Woody Allen, 1977); APOCALYPSE NOW (US, Francis Ford Coppola, 1979); BATMAN (US, Tim Burton, 1989); BEVERLY HILLS COP (US, Martin Brest, 1984); BONNIE AND CLYDE (US, Arthur Penn, 1967); BRIEF ENCOUNTER (UK, David Lean, 1945); BUTCH CASSIDY AND THE SUNDANCE KID (US, George Roy Hill, 1969); CARRY ON CLEO (UK, Gerald Thomas, 1964); CASABLANCA (US, Michael Curtiz, 1942); CHARIOTS OF FIRE (UK, Hugh Hudson, 1981); CITIZEN KANE (US, Orson Welles, 1941); CROCODILE DUNDEE (AT, Peter Faiman, 1986); DAM BUSTERS, THE (UK, Michael Anderson, 1955); DIRTY HARRY (US, Don Siegel, 1971); DUCK SOUP (US, Leo McCarey, 1933); EASY RIDER (US, Dennis Hopper, 1969); E.T. THE EXTRA TERRESTRIAL (US, Steven Spielberg, 1982); EXORCIST, THE (US, William Friedkin, 1973); FANTASIA (US, Walt Disney, 1940); FATAL ATTRACTION (US, Adrian Lyne, 1987); [FORTY-SECOND] 42ND STREET (US, Lloyd Bacon, 1933); FRANKENSTEIN (US, James Whale, 1931); FRENCH CONNECTION, THE (US, William Friedkin, 1971); GENEVIEVE (UK, Henry Cornelius, 1953); GODFATHER, THE (US, Francis Ford Coppola, 1972); GOLDFINGER (UK, Guy Hamilton, 1964); GONE WITH THE WIND (US, Victor Fleming, 1939); GRADUATE, THE (US, Mike Nichols, 1967); GREASE (US, Randal Kleisner, 1978); HARD DAY'S NIGHT, A (UK, Richard Lester, 1964); HENRY V (UK, Laurence Olivier, 1944); HIGH NOON (US, Fred Zinnemann, 1952); HIGH SOCIETY (US, Charles Walters, 1956); IT HAPPENED ONE NIGHT (US, Frank Capra, 1934); KING KONG (US, Merian C. Cooper & Ernest B. Schoedsack, 1933); LAVENDER HILL MOB, THE (UK, Charles Crichton, 1951); LAWRENCE OF ARABIA (UK, David Lean, 1962); MAGNIFICENT SEVEN, THE (UK, John Sturges, 1960); MALTESE FALCON, THE (US, John Huston, 1941); M*A*S*H (US, Robert Altman, 1969); ONE FLEW OVER THE CUCKOO'S NEST (US, Milos Forman, 1975); PINK PANTHER, THE (US, Blake Edwards, 1964); PSYCHO (US, Alfred Hitchcock, 1960); RAIDERS OF THE LOST ARK (US, Steven Spielberg, 1981); RAMBO : FIRST BLOOD PART II (US, George Pan Cosmatos, 1985); REBEL WITHOUT A CAUSE (US, Nicholas Ray, 1955); ROAD TO MOROCCO (US, David Butler, 1942); SINGIN' IN THE RAIN (US, Gene Kelly & Stanley Donen, 1952); SNOW WHITE AND THE SEVEN DWARFS (US, David Hand, 1937); SOME LIKE IT HOT (US, Billy Wilder, 1959); SOUND OF MUSIC, THE (US, Robert Wise, 1965); STAGECOACH (US, John Ford, 1939); STAR WARS (US, George Lucas, 1977); THIRD MAN, THE (UK, Carol Reed, 1949); TOOTSIE (US, Sydney Pollack, 1982); TOP HAT (US, Mark Sandrich, 1935); [TWO THOUSAND AND ONE] 2001: A SPACE ODYSSEY (UK, Stanley Kubrick, 1968); WHO FRAMED ROGER RABBIT (US, Roger Zemekis, 1988); WIZARD OF OZ, THE (US, Victor Fleming, 1939)
ISBN: 1854101617; 1854101617 (pbk) : ¦9.95 : CIP confirmed
LON: bnc85410161; 7335916

Call No: 451-02 FRE
Author: French, Brandon, 1944
Place: New York
Publisher: Ungar
PubDate: 1978
PhysDes: xxiv, 165 p. : ill. ; 22 cm
Subject: WOMEN IN FILMS. USA; SUNSET BOULEVARD (US, Billy Wilder, 1950); QUIET MAN, THE (US/IR, John Ford, 1952); MARRYING KIND, THE (US, George Cukor, 1952); SHANE (US, George Stevens, 1953); COUNTRY GIRL, THE (US, George Seaton, 1954); MARTY (US, Delbert Mann, 1954); ALL THAT HEAVEN ALLOWS (US, Douglas Sirk, 1955); PICNIC (US, Joshua Logan, 1955); HEAVEN KNOWS, MR. ALLISON (US, John Huston, 1957); SOME LIKE IT HOT (US, Billy Wilder, 1959); FROM HERE TO ETERNITY (US, Fred Zinneman, 1953); TENDER TRAP, THE (US, Charles Walters, 1955); NUN'S STORY, THE (US, Fred Zinneman, 1958)
Notes: Includes index; Bibliography: p. 155-157
ISBN: 0804422206; 0804461589 (pbk.)
LON: 78004294; 1220409

Call No: 626:396SMA
Author: Duncan, Stephen R.; Meade, Melissa; Chinen Biesen, Sheri; Levitt, Linda; Whitney, Allison; Feroli, Mikaela; Reese, De Anna J.; Tally, Margaret; Campbell, Raewyn; Stone, Amanda; Berstein, Rachel S.
Source: US
Place: Lanham
Publisher: Rowman & Littlefield
PubDate: c2014
PhysDes: 245 pages ; 23 cm
Series: Film and History
Subject: WOMEN IN FILMS; WOMEN ON TV; FEMININITY IN FILMS; FEMINISM AND THE CINEMA; HOLLIDAY, JUDY; CONTACT (AT, Bentley Dean & Martin Butler, 2009); MAD MEN [TV] (US, 2007); GREY'S ANATOMY [TV] (US, 2005-); GIRLS [TV] (US, 2012); SOME LIKE IT HOT (US, Billy Wilder, 1959); BORN YESTERDAY (US, George Cukor, 1950); BIG BANG THEORY, THE [TV] (US, 2007-); ELEMENTARY [TV] (US, 2012-)
Summary: While women have long been featured in leading roles in film and television, the intellectual depictions of female characters in these mediums are out of line with reality. Women continue to be marginalized for their choices, overshadowed by men, and judged by their bodies. In fact, the intelligence of women is rarely the focus of television or film narratives, and on the rare occasion when smart women are showcased, their portrayals are undermined by socially awkward behavior or their intimate relationships are doomed to perpetual failure. While Hollywood claims to offer a different, more evolved look at women, these movies and shows often just repackage old character types that still downplay the intelligence and savvy of women. In Smart Chicks on Screen: Representing Women’s Intellect in Film and Television, Laura Mattoon D’Amore brings together an impressive array of scholarship that interrogates the portrayal of females on television and in movies. Among the questions that the volume seeks to answer are: In what ways are women in film and television limited, or ostracized, by their intelligence? How do female roles reinforce standards of beauty, submissiveness, and silence over intellect, problem solving, and leadership? Are there women in film and television who are intelligent without also being objectified? The thirteen essays by international, interdisciplinary scholars offer a wide range of perspectives, examining the connections—and disconnections—between beauty and brains in film and television. Smart Chicks on Screen will be of interest to scholars not only of film and television but of women’s studies, reception studies, and cultural history, as well. -- [Extract taken from the back of book]
Notes: Includes bibliographical references and index.
ISBN: 9781442237476
Contents: 1.Not Just Born Yesterday: Judy Holliday, the Red Scare, and the (Miss-)Uses of Hollywood's Dumb Blonde Image / Stephen R. Duncan -- 2.The Fuzzy End of the Lollypop: Protofeminism and Collective Subjectivity in Some Like It Hot / Melissa Meade -- 3.Brainy Broads: Images of Women's Intellect in Film Noir / Sheri Chinen Biesen -- 4.Troubling Binaries: Women Scientists in 1950s B-Movies / Linda Levitt -- 5."The High Priestess of the Desert": Female Intellect and Subjectivity in Contact / Allison Whitney -- 6.Mad Men's Peggy Olson: A Prefeminist Champion in a Postfeminist TV Landscape / Stefania Marghitu -- 7.A Deeper Cut: Enlightened Sexism and Grey's Anatomy / Mikaela Feroli -- 8."There Is No Genius": Dr. Joan Watson and the Rewriting of Gender and Intelligence on CBS's Elementary / Natasha Patterson -- 9.Stories Worth Telling: How Kerry Washington Balances Brains, Beauty, and Power in Hollywood / De Anna J. Reese -- 10. Postfeminism, Sexuality, and the Question of Millennial Identity on HBO's Girls / Margaret J. Tally -- 11. I Can't Believe I Fell for Muppet Man!: Female Nerds and the Order of Discourse / Raewyn Campbell -- 12.Brains, Beauty, and Feminist Television: The Women of The Big Bang Theory / Amanda Stone -- 13.Too Smart for Their Own Good?: Images of Young Jewish Women in Television and Film / Rachel S. Bernstein

Call No: TITLE CLIPPINGS FILE
PhysDes: Press kit; Stills; Clippings
Subject: SOME LIKE IT HOT (US, Billy Wilder, 1959)

Call No: 451-025 ROW
Author: Rowe, Kathleen, 1947
Edition: 1st ed
Place: Austin, Tex.
Publisher: University of Texas Press
PubDate: 1995
PhysDes: x, 272 p. : ill. ; 23 cm
Series: Texas film studies series
Subject: COMEDIENNES; FEMINISM AND THE CINEMA; COMEDIES; TRANSVESTISM; MELODRAMA; SITUATION COMEDY; CARNIVAL AND THE CINEMA; HEPBURN, KATHARINE; ARNOLD, ROSEANNE; MISS PIGGY; WEST, MAE; STILTE ROND CHRISTINE M., DE (NE, Marleen Gorris, 1982); ROSEANNE [TV] (US, 1988- ); SOME LIKE IT HOT (US, Billy Wilder, 1959); BRINGING UP BABY (US, Howard Hawks, 1938); BALL OF FIRE (US, Howard Hawks, 1942); BORN YESTERDAY (US, George Cukor, 1950); LADY EVE, THE (US, Preston Sturges, 1941); MOONSTRUCK (US, Norman Jewison, 1987); PRETTY WOMAN (US, Garry Marshall, 1990); SHE DONE HIM WRONG (US, Lowell Sherman, 1933); IT HAPPENED ONE NIGHT (US, Frank Capra, 1934); SYLVIA SCARLETT (US, George Cukor, 1935); GENTLEMEN PREFER BLONDES (US, Howard Hawks, 1953)
Summary: Unruly women have been making a spectacle of themselves in film and on television from Mae West to Roseanne Arnold. In this groundbreaking work, Kathleen Rowe explores how the unruly woman - often a voluptuous, noisy, joke-making rebel or "woman on top" - uses humor and excess to undermine patriarchal norms and authority. At the heart of the book are detailed analyses of two highly successful unruly women - the comedian Roseanne Arnold and the Muppet Miss Piggy. Putting these two figures in a deeper cultural perspective, Rowe also examines the evolution of romantic film comedy from the classical Hollywood period to the present, showing how the comedic roles of actresses such as Katharine Hepburn, Barbara Stanwyck, and Marilyn Monroe offered an alternative, empowered image of women that differed sharply from the "suffering heroine" portrayed in classical melodramas; This feminist study of comedy in film and television offers exciting new opportunities for understanding these media. Written with verve and humor, it will be important reading for a wide popular and scholarly audience in mass communications, gender studies, and popular culture
Notes: Includes bibliographical references (p. [247]-260) and index
ISBN: 0292790724; 0292770693 (pbk.)
LON: 94013656; 10900401