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By Jackie Byars

All that Hollywood permits explores the illustration of gender in well known Hollywood melodramas of the Nineteen Fifties. either a piece of feminist movie feedback and conception and an research of pop culture, this provocative e-book examines from a cultural reports viewpoint top-grossing movie melodramas, corresponding to A Streetcar Named hope, From right here to Eternity, East of Eden, Imitation of existence and Picnic. Stereotypically seen as a complacent and idyllic time, the Fifties have been really a time of dislocation and nice social swap. Jackie Byars argues that mass media texts of the interval, specifically motion pictures, supply facts of society's eating preoccupation with the household sphere - the and its values - and he or she indicates how Hollywood melodramas interpreted and prolonged societal debates touching on relatives constitution, sexual divisions of labour, and gender roles. Her readings of those movies verify a number of severe methodologies and techniques to textual research, a few critical to feminist movie stories and a few formerly bypassed by means 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)

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Possibly, for instance, a feminist film might not position its spectator in a way that challenges patriarchy, or a structure that tends to reinforce patriarchy may indeed fail or may fail partially. Williams found developments in the concept of hegemony—initiated in the 1920s and 1930s by the Italian theorist Antonio Gramsci and extended by British cultural studies scholars—to be a promising alternative to formalist and structuralist theories. 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.

Teresa de Lauretis’s contribution to Re-vision (also included in a collection of her essays, Alice Doesn’t, published the same year) examines the potential of Michel Foucault’s “discourse analysis” (referenced in two other articles in the anthology) for explaining a particular reader—in this case, herself. ” 12 She was, of course, correct, so far as use of the theories and methods for demonstrating such phenomena are concerned. We do not really need yet another explication of the victimization of “woman” by that pernicious male gaze.

36 Carey has denied the charge that cultural studies in the United States fails to consider power, dominance, subordination, and ideology, pointing to theorists like C. Wright Mills and Harold Innis, for whom power was a central issue. Carey contended that the “ferment in the field” of communications research retains overtones of its “cheerful” pragmatist origins while also raising the indisputable fact that social formations are determined by power relations. 37 But the attention to power, dominance, sub ordination, and struggle within the work of first-generation American cultural studies scholars is so implicit that it is practically invisible.

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