Cracks in the Pedestal: Ideology and Gender in Hollywood by Philip Green

By Philip Green

Hollywood bargains in messages large enough to get via to the densest lummox between us. Cracks within the Pedestal ably issues out how Hollywood motion pictures and tv indicates force domestic the dominant American ideology and reflect inflexible cultural intercourse roles in 1000000 large and little methods. Even whilst social differences led to by way of feminism crop up, the reveal photographs are distorted. while Susan Sarandon performs a legal professional difficult sufficient to move up opposed to the govt on behalf of an 11-year-old boy within the patron, for instance, it is the bantam-weight man-child who heroically saves her from violence. while a muscular Sigourney Weaver performs the lady warrior Ripley in extraterrestrial beings, her personality is redeemed via a maternal streak. And God aid the lady who steps out of line sexually: she's apt to be killed or unfulfilled. widespread educational throat-clearing and occasionally pretentious prose mar an another way interesting, well-argued booklet. It reminds us that whereas video clips and tv could be delusion, they implement a undeniable international view, beaming it nightly into our houses and all over the world.

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Extra resources for Cracks in the Pedestal: Ideology and Gender in Hollywood

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P. cm. Includes bibliographical references and index.  paper).  Women in motion pictures.  Women in television.  Feminism and motion pictures.  Feminist film criticism.  Title. 43'652042dC2197-21775 CIP British Library Cataloguing in Publication data are available. Page v CONTENTS Acknowledgments vii Introduction 1 Part I Foundations Of Social Order 1 Ideology, Gender, and Visual Culture 15 2 Erasures 32 3 Ideological Destinies 48 4 Recuperating the Sexual Order 77 5 Media Structures and Dominant Ideas 100 Page vi Part II Cracks In The Pedestal 6 Resistance and Opposition 119 7 "Put the Blame on Mame .

29 However, if what I have described as my central thesis is correctif the contemporary production of visual culture takes place under conditions prominently structured by the feminist cultural revolution of the 1970sthen the production and content of the triple male gaze ought to be changing. But how? Since dominant visual culture is created in large part to be seen by men, it is crucial to understand just what it is that men see when they look at it: to create, so to speak, a spectatorship theory for men.

Race and class structure the social meanings of gender and sexuality, as they in turn structure the social meanings of race and class. In that light, what is on the one hand a rational principle of selection (you can't write about everything at once) is on the other the suppression of a reality that is always there even if I am not (or some other person is not) noticing it. In this case, too, the presence and (relative) absence correspond to another kind of social reality. I am a person who inhabits one out of many possible subject positions in the contemporary United States.

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