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From Reverence to Rape : The Treatment of Women in the Movies, Third Edition by
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Specificaties
- Objectstaat
- ISBN
- 9780226412894
- Subject Area
- Performing Arts, Social Science, History
- Publication Name
- From Reverence to Rape : the Treatment of Women in the Movies, Third Edition
- Publisher
- University of Chicago Press
- Item Length
- 7.8 in
- Subject
- Women's Studies, United States / General, Film / History & Criticism
- Publication Year
- 2016
- Type
- Textbook
- Format
- Trade Paperback
- Language
- English
- Item Height
- 1.3 in
- Item Weight
- 16 Oz
- Item Width
- 5.5 in
- Number of Pages
- 496 Pages
Over dit product
Product Identifiers
Publisher
University of Chicago Press
ISBN-10
022641289X
ISBN-13
9780226412894
eBay Product ID (ePID)
10038290743
Product Key Features
Number of Pages
496 Pages
Language
English
Publication Name
From Reverence to Rape : the Treatment of Women in the Movies, Third Edition
Publication Year
2016
Subject
Women's Studies, United States / General, Film / History & Criticism
Type
Textbook
Subject Area
Performing Arts, Social Science, History
Format
Trade Paperback
Dimensions
Item Height
1.3 in
Item Weight
16 Oz
Item Length
7.8 in
Item Width
5.5 in
Additional Product Features
Edition Number
3
Intended Audience
Scholarly & Professional
LCCN
2016-015755
Reviews
This is a fun title to be carrying on the subway: Film critic and historian Haskell's landmark 1974 book From Reverence to Rape. The book's third edition, with a forward by New York Times film critic Manohla Dargis, was recently published, and many of Haskell's sharpest insights feel (sadly) more relevant now than ever. I find myself underlining every other sentence: 'A woman who could compete and conceivably win in a man's world would defy emotional gravity, would go against the grain of prevailing notions about the female sex'; 'A movie heroine could act on the same power and career drives as a man only if, at the climax, they took second place to the sacred love of a man'; 'On the screen, sex has been demystified . . . without a compensating understanding of how to deal with the new freedom, or with a woman's body--or her mind.' The book is a must-read for anyone interested in the history of film and feminism in America., Haskell was an early champion of European art cinema and its prized auteurs, and is one of the great feminist film critics; her pioneering study From Reverence to Rape . . . earned [its] third-edition printing., From Reverence to Rape is an incisive, exceedingly thoughtful look at the distorted lens through which Hollywood has historically viewed women. It is a valuable contribution not just of film criticism but to a society in which the vital role of women is just beginning to emerge., One of the things that fascinates me about From Reverence to Rape is that, in addition to being about what it's about--the image and treatment of women throughout movie history--the book is also about what's shown and what's withheld, what's said and what's unspoken, and what effect that all has on the viewer., Haskell, a former critic at The Village Voice and Vogue and author of the groundbreaking study From Reverence to Rape , is also, famously, an auteurist and cinephile who has spent a lifetime swooning over (frequently European) cinematic depictions of the complicated, erotic ways of men and women., [Haskell's] book is short on militant rhetoric and long on wise, constructive insight. She explores the tensions and potentialities of heterosexual relationships, as portrayed in the movies, with such humorous, sympathetic skill that both sexes can enjoy, and profit from, her work., Haskell [helped] . . . to point out the outdated elements of the cross-gender identification that Tennessee Williams came to define--incompatible not only with the awareness of women's cultural representations in the late twentieth century, but also with the increasingly visible fight for LGBT rights that followed the Stonewall riots of 1969., Books like From Reverence to Rape by critic Haskell . . . prove the conversations we're having today aren't new. The language may have changed, but the sentiment remains the same: Women have always wanted to see (and create) complex representations of ourselves onscreen., In examining the goddesses worshipped by an entire nation, Haskell reveals a good deal about our national character and our most cherished sexual myths. . . . Concerned with the deeply ingrained belief of women's inferiority, she analyzes movies as a social product as well as a social arbiter, and she effectively demonstrates how women are encouraged to impose limitations on themselves by fashioning those selves after flickering shadows in a darkened auditorium--sexual creatures who possess neither ability nor ambition beyond their bodies. . . . Both as an examination of film and as sociology, From Reverence to Rape is excellent., Still urgent . . . [and] now out in a welcome third edition. In From Reverence to Rape . . . Haskell demonstrates that actresses actually enjoyed greater opportunities and a wider variety of good roles under the old studio system than in the years that followed the Movie Brat revolution of the 1970s. The studios made films for everyone; the great dude directors (Spielberg, Coppola, Scorsese) made movies they were interested in., This is a fun title to be carrying on the subway: Film critic and historian Haskell's landmark 1974 book From Reverence to Rape. The book's third edition, with a forward by New York Times film critic Manohla Dargis, was recently published, and many of Haskell's sharpest insights feel (sadly) more relevant now than ever. I find myself underlining every other sentence: 'A woman who could compete and conceivably win in a man's world would defy emotional gravity, would go against the grain of prevailing notions about the female sex'; 'A movie heroine could act on the same power and career drives as a man only if, at the climax, they took second place to the sacred love of a man'; 'On the screen, sex has been demystified . . . without a compensating understanding of how to deal with the new freedom, or with a woman's body--or her mind.' The book is a must-read for anyone interested in the history of film and feminism in America., Haskell is interested in women--how they are used in movies, how they use movies, and how the parts they play function as projections and verifications of our myths about women's lot and woman's psyche., As a young woman, I felt I should embrace a feminist perspective on films, but I was a cinephile first. Movies came before politics, religion, or boyfriends-always. When I first read From Reverence to Rape , I was relieved that Haskell also admitted movies were her 'first allegiance,' and that the theory of the male gaze 'seemed too monolithic, a narrow one-way street, allowing no room for the pleasure women take in looking and being seen.' Without discrediting earlier feminist writings, Haskell expanded perspectives and enlightened readers not only because she loved the movies but also because she knew cinema history. . . . With her approach, Haskell reclaims classic films and female stars, explaining their meaning and appeal for women. But, she is no apologist for an industry that has excluded women from behind the camera, tried to pigeon-hole women characters as wives and mothers, shaped female archetypes that reflect male fears and desires, and turned on actresses who defied male standards of beauty and femaleness., One of the things that fascinates me about From Reverence to Rape is that, in addition to being about what it's about--the image and treatment of women throughout movie history--the book is also about what's shown and what's withheld, what's said and what's unspoken, and what effect that all has on the viewer., Haskell has taken the 'movie brat' directors of New Hollywood to task for their disregard for women in their films, finding in their work a general lack of interest or aptitude, if not outright antipathy toward their actresses. Please consult her essential From Reverence to Rape for the fullest statement of this argument., As a young woman, I felt I should embrace a feminist perspective on films, but I was a cinephile first. Movies came before politics, religion, or boyfriends-always. When I first read From Reverence to Rape , I was relieved that Haskell also admitted movies were her 'first allegiance,' and that the theory of the male gaze 'seemed too monolithic, a narrow one-way street, allowing no room for the pleasure women take in looking and being seen.' Without discrediting earlier feminist writings, Haskell expanded perspectives and enlightened readers not only because she loved the movies but also because she knew cinema history. . . . With her approach, Haskell reclaims classic films and female stars, explaining their meaning and appeal for women. But, she is no apologist for an industry that has excluded women from behind the camera, tried to pigeon-hole women characters as wives and mothers, shaped female archetypes that reflect male fears and desires, and turned on actresses who defied male standards of beauty and femaleness., Sex is just as good a vehicle for hate as it is for love. . . . Haskell brings more concrete and convincing evidence to her theme than any other feminist writer I have read.
Illustrated
Yes
Table Of Content
Preface to the Second Edition Acknowledgments Introduction The Big Lie The Twenties The Thirties The Woman's Film The Forties The Fifties The Europeans The Sixties 1974-1987: The Age of Ambivalence Index
Synopsis
A revolutionary classic of feminist cinema criticism, Molly Haskell's From Reverence to Rape remains as insightful, searing, and relevant as it was the day it was first published. Ranging across time and genres from the golden age of Hollywood to films of the late twentieth century, Haskell analyzes images of women in movies, the relationship between these images and the status of women in society, the stars who fit these images or defied them, and the attitudes of their directors. This new edition features both a new foreword by New York Times film critic Manohla Dargis and a new introduction from the author that discusses the book's reception and the evolution of her views., From Reverence to Rape by Molly Haskell is a classic, and is still assigned in classes on film history. The Second Edition (Chicago,1987) has sold nearly 30,000 copies. This Third Edition, for which we also leased e-book rights, will allow us to sell the book to a new generation of students. It includes a brilliant new foreword by Manohla Dargis (The New York Times), and an updated version of the introduction by Haskell to her book Holding My Own in No Mans Land (1996), discussing the reception of the book and the evolution of her views. Aside from these two pieces, the book will resemble the Second Edition.
LC Classification Number
PN1995.9.W6H3 2016
ebay_catalog_id
4
Copyright Date
2016
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