By Jeanine Basinger
During this hugely readable and pleasing e-book, Jeanine Basinger indicates how the "woman's film" of the 30s, 40s, and 50s despatched a powerful combined message to thousands of girl moviegoers. whilst that such motion pictures exhorted ladies to stay to their "proper" realm of fellows, marriage, and motherhood, they portrayed -- frequently with savor -- robust girls enjoying out freeing fantasies of energy, romance, sexuality, luxurious, even wickedness.
Never brain that the celluloid personas of Bette Davis, Myrna Loy, Katharine Hepburn, Joan Crawford, or Rita Hayworth see their folly and go back to their guy or lament his loss within the final 5 mins of the image; for the 1st eighty-five mins the viewers watched as those characters "wore nice outfits, sat on nice furnishings, enjoyed undesirable males, had plenty of intercourse, informed the area off for proscribing them, even gave their childrens away."
Basinger examines dozens of flicks -- even if melodrama, screwball comedy, musical, movie noir, western, or biopic -- to make a persuasive case that the woman's movie was once a wealthy, complex, and subversive style that well-known and addressed, if covertly, the issues of girls.
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Additional info for A Woman's View: How Hollywood Spoke to Women, 1930-1960
As a result of this natural advantage, the male then sought to expand his dominion through the appropriation of other males for purposes of labor, and thereby increased his liberty and sense of power. The biological family is an inherently unequal power distribution. The need for power leading to the development of the classes arises from the psychosexual formation of each individual according to this basic imbalance... 15 This confounding of the cultural and the biological speaks to the very problems de Beauvoir raised in her initial question: is woman a biological organism (directed by a sexually specific brain), a psychic entity (driven by unconscious desires) or a cultural composite (operating as a socio-economic construct)?
The leveling of society economically could easily be translated into the promise of a future in which every individual was afforded the opportunity to fulfill her or his potential. In de Beauvoir’s text Hansberry found a critique that specifically addressed the oppression of women, a critique lacking in all the current socialist literature, but a concern she openly expressed in her own work. It is significant that Hansberry underscored the importance of this critique by commenting on the shallow, and often negative, reception de Beauvoir’s work received from women.
P. 618 41 primacy of sexism in all oppressions, she chose to conflate the history of racism and the history of sexism under the canopy of Freudian psychosexual development. Because the lens she employed limited Freud to a scribe of patriarchal socialization, she found in his theories a psychosexual explanation for the social imposition of hierarchal race relations. ”38For her, his paramount achievement was the theorization of polymorphic perversity, which she interpreted as the unrepressed sexuality necessary for the realization of her utopian androgyny.
A Woman's View: How Hollywood Spoke to Women, 1930-1960 by Jeanine Basinger