Framed uses fin de siècle British crime narrative to pose a highly interesting question: why do female criminal characters tend to be alluring and appealing while fictional male criminals of the era are unsympathetic or even grotesque?
In this elegantly argued study, Elizabeth Carolyn Miller addresses this question, examining popular literary and cinematic culture from roughly 1880 to 1914 to shed light on an otherwise overlooked social and cultural type: the conspicuously glamorous New Woman criminal. In so doing, she breaks with the many Foucauldian studies of crime to emphasize the genuinely subversive aspects of these popular female figures. Drawing on a rich body of archival material, Miller argues that the New Woman Criminal exploited iconic elements of late nineteenth- and early twentieth-century commodity culture, including cosmetics and clothing, to fashion an illicit identity that enabled her to subvert legal authority in both the public and the private spheres.
"This is a truly extraordinary argument, one that will forever alter our view of turn-of-the-century literary culture, and Miller has demonstrated it with an enrapturing series of readings of fictional and filmic criminal figures. In the process, she has filled a gap between feminist studies of the New Woman of the 1890s and more gender-neutral studies of early twentieth-century literary and social change. Her book offers an extraordinarily important new way to think about the changing shape of political culture at the turn of the century."
---John Kucich, Professor of English, Rutgers University
"Given the intellectual adventurousness of these chapters, the rich material that the author has brought to bear, and its combination of archival depth and disciplinary range, any reader of this remarkable book will be amply rewarded."
---Jonathan Freedman, Professor of English and American Culture, University of Michigan
Elizabeth Carolyn Miller is Assistant Professor of English at the University of California, Davis.
digitalculturebooks is an imprint of the University of Michigan and the Scholarly Publishing Office of the University of Michigan Library dedicated to publishing innovative and accessible work exploring new media and their impact on society, culture, and scholarly communication. Visit the website at www.digitalculture.org.
Through innovative readings of a dozen movies made between 1928 and 2001 in Europe, Japan, and the United States, Orit Kamir shows that in representing “gender crimes,” feature films have constructed a cinematic jurisprudence, training audiences worldwide in patterns of judgment of women (and men) in such situations. Offering a novel formulation of the emerging field of law and film, Kamir combines basic legal concepts—murder, rape, provocation, insanity, and self-defense—with narratology, social science methodologies, and film studies.
Framed not only offers a unique study of law and film but also points toward new directions in feminist thought. Shedding light on central feminist themes such as victimization and agency, multiculturalism, and postmodernism, Kamir outlines a feminist cinematic legal critique, a perspective from which to evaluate the “cinematic legalism” that indoctrinates and disciplines audiences around the world. Bringing an original perspective to feminist analysis, she demonstrates that the distinction between honor and dignity has crucial implications for how societies construct women, their social status, and their legal rights. In Framed, she outlines a dignity-oriented, honor-sensitive feminist approach to law and film.
As real women increasingly entered the professions from the 1970s onward, their cinematic counterparts followed suit. Women lawyers, in particular, were the protagonists of many Hollywood films of the Reagan-Bush era, serving as a kind of shorthand reference any time a script needed a powerful career woman. Yet a close viewing of these films reveals contradictions and anxieties that belie the films' apparent acceptance of women's professional roles. In film after film, the woman lawyer herself effectively ends up "on trial" for violating norms of femininity and patriarchal authority.
In this book, Cynthia Lucia offers a sustained analysis of women lawyer films as a genre and as a site where other genres including film noir, maternal melodrama, thrillers, action romance, and romantic comedy intersect. She traces Hollywood representations of female lawyers through close readings of films from the 1949 Adam's Rib through films of the 1980s and 1990s, including Jagged Edge, The Accused, and The Client, among others. She also examines several key male lawyer films and two independent films, Lizzie Borden's Love Crimes and Susan Streitfeld's Female Perversions. Lucia convincingly demonstrates that making movies about women lawyers and the law provides unusually fertile ground for exploring patriarchy in crisis. This, she argues, is the cultural stimulus that prompts filmmakers to create stories about powerful women that simultaneously question and undermine women's right to wield authority.
What were the women of Germany doing during the Third Reich? What were they thinking? And what do they have to say a half century later?
In Frauen we hear their voices––most for the first time. Alison Owings interviewed and here records the words of twenty-nine German women who were there: Working for the Resistance. Joining the Nazi Party. Outsmarting the Gestapo. Disliking a Jewish neighbor. Hiding a Jewish friend. Witnessing "Kristallnacht." Witnessing the firebombing of Dresden. Shooting at Allied planes. Welcoming Allied troops. Being a prisoner. And being a guard. The women recall their own and others' enthusiasm, doubt, fear, fury, cowardice, guilt, and anguish.
Alison Owings, in her pursuit of such memories, was invited into the homes of these women. Because she is neither Jewish nor German, and because she speaks fluent colloquial German, many of the women she interviewed felt comfortable enough with her to unlock the past. What they have to say will surprise Americans, just as they surprised the women themselves.
Not since Marcel Ophuls's controversial film The Sorrow and the Pity have we been on such intimate terms with "the enemy." In this case, the story is that of the women, those who did not make policy but were forced to participate in its effects and to witness its results. What they did and did not do is not just a reflection on them and their country––it also leads us to question what actions we might have taken in their place. The interviews do not allow for easy, smug answers.
Freda Kirchwey—writer, editor, publisher, opinionmaker, feminist, wife, and mother—was a salient figure in twentieth-century America, a beacon for liberals and activists of her era. A journalist with The Nation from 1918 to 1955—owner, editor, and publisher after 1937—she was an advocate of advanced ideas about sexual freedom and birth control and a tireless foe of fascism. The quintessential new woman, she combined a private and highly visible public life.
In this first full-scale biography of Kirchwey, Sara Alpern weaves the strands of gender-related issues with larger social explorations. An early feminist, from a privileged and progressive background, Kirchwey was determined to enjoy both career and marriage, but the early deaths of two of her three sons and strained relations with her husband led to self-doubt about her identity. Yet despite any hidden misgivings, her humanitarianism and outstanding journalistic and critical gifts projected her onto the larger stage of public life. Alpern richly describes Kirchwey’s extraordinary work editing The Nation, one of the longest surviving American liberal journals, and shaping public opinion on domestic and international affairs. Kirchwey focused on large political and international issues—the Spanish Civil War, democracy versus fascism and Nazism, pacifism and collective security, the plight of refugees and Zionism, McCarthyism and censorship, and, finally, the peaceful employment of atomic power.
Freda Kirchwey’s life story introduces a remarkable woman to a new generation struggling with personal and career goals as it recalls the efflorescence of liberalism for an older generation of readers.
The Freedom to Remember examines contemporary literary revisions of slavery in the United States by black women writers. The narratives at the center of this book include: Octavia E. Butler’s Kindred, Sherley Anne Williams’s Dessa Rose, Toni Morrison’s Beloved, J. California Cooper’s Family, and Lorene Cary’s The Price of a Child.
Recent studies have investigated these works only from the standpoint of victimization. Angelyn Mitchell changes the conceptualization of these narratives, focusing on the theme of freedom, not slavery, defining these works as “liberatory narratives.” These works create a space to problematize the slavery/freedom dichotomy from which contemporary black women writers have the “safe” vantage point to reveal aspects of enslavement that their ancestors could not examine. The nineteenth-century female emancipatory narrative, by contrast, was written to aid the cause of abolition by revealing the unspeakable realitiesof slavery. Mitchell shows how the liberatory narrative functions to emancipate its readers from the legacies of slavery in American society: by facilitating a deeper discussion of the issues and by making them new through illumination and interrogation.
Challenging the broader cultural milieu of pink ribbon symbolism and breast cancer "awareness" campaigns, this movement has grown from a handful of community-based organizations into a national entity, shaping the cultural, political, and public health landscape. Much of the activists' everyday work revolves around describing how the so called "cancer industry" downplays possible environmental links to protect their political and economic interests and they demand that the public play a role in scientific, policy, and public health decision-making to build a new framework of breast cancer prevention.
From Pink to Green successfully explores the intersection between breast cancer activism and the environmental health sciences, incorporating public and scientific debates as well as policy implications to public health and environmental agendas.
Koritha Mitchell analyzes canonical texts by and about African American women to lay bare the hostility these women face as they invest in traditional domesticity. Instead of the respectability and safety granted white homemakers, black women endure pejorative labels, racist governmental policies, attacks on their citizenship, and aggression meant to keep them in "their place."
Tracing how African Americans define and redefine success in a nation determined to deprive them of it, Mitchell plumbs the works of Frances Harper, Zora Neale Hurston, Lorraine Hansberry, Toni Morrison, Michelle Obama, and others. These artists honor black homes from slavery and post-emancipation through the Civil Rights era to "post-racial" America. Mitchell follows black families asserting their citizenship in domestic settings while the larger society and culture marginalize and attack them, not because they are deviants or failures but because they meet American standards.
Powerful and provocative, From Slave Cabins to the White House illuminates the links between African American women's homemaking and citizenship in history and across literature.
Helen Walker-Hill's unique study provides a carefully researched examination of the history and scope of musical composition by African American women composers from the nineteenth and twentieth centuries. Focusing on the effect of race, gender, and class, From Spirituals to Symphonies notes the important role played by individual personalities and circumstances in shaping this underappreciated category of American art. The study also provides in-depth exploration of the backgrounds, experiences, and musical compositions of eight African American women including Margaret Bonds, Undine Smith Moore, and Julia Perry, who combined the techniques of Western art music with their own cultural traditions and individual gifts. Despite having gained national and international recognition during their lifetimes, the contributions of many of these women are today forgotten.
Nancy Sinkoff's new introduction explores the historical forces, particularly the dynamic world of secular Yiddish culture, which shaped Dawidowicz's decision to journey to Poland and her reassessment of those forces in the last years of her life.
With their gregarious natures and casual styles, American GIs in wartime England were instantly attractive to British women—especially in the absence of their fighting men. As a result, some seventy thousand British war brides returned to the United States—with many on the home front at first suspecting that the GIs were somehow being exploited.
The war brides’ stories have been told in memoirs, romantic novels, and immigration history. Barbara Friedman sheds new light on their experiences by focusing on media representations of sexuality and marriage in wartime, showing how mass media interpretations turned from public suspicion of war brides to popular acceptance.
Friedman tells how British media first insisted that GIs had come to fight, not to woo the locals, and shrugged off the first brides as an “American problem.” Yet, as Friedman shows, the British media were complicit in encouraging the relationships in the first place: the British press promoted a hospitality program that deemed the entertainment of American troops “patriotic duty,” while women’s magazines hailed American men as ideal husbands and the United States as a promised land.
From the American perspective, Friedman reveals, despite rules against foreign marriages, the U.S. Army encouraged GI-civilian fraternization through armed service publications, attitudes toward GI sexuality, and participation in the hospitality program. Armed service publications went from depicting British women as “frowsy dames” to honoring them as models of domesticity, while newspapers back home eventually legitimized the marriages by casting the brides as welcome additions to American society. Meanwhile, American women’s magazines viewed them as more similar to than different from their American counterparts and called on readers to help British brides master American homemaking.
By combining letters and diaries of brides with published accounts, Friedman identifies accuracies and inaccuracies in the media record as well as gaps in coverage. She considers how the brides saw themselves compared to their media images and shows how the media co-opted brides as symbols of the Anglo-American “special friendship,” postwar power imbalance, and gendered ideals of marriage and domestication.
From the Battlefront to the Bridal Suite is the untold story of overlooked participants in the most celebrated drama of the twentieth century—women whose lives were shaped profoundly by a war that was more than just a male enterprise. It shows the power of the press in the most unlikely matters and suggests a broader definition of the wartime experience.
Mendez draws on interviews with leaders and program participants, including maquiladora workers; her participant observation while she worked as a volunteer within the organization; and analysis of the public statements, speeches, and texts written by mec members. She provides a sense of the day-to-day operations of the group as well as its strategies. By exploring the tension between mec and transnational feminist, labor, and solidarity networks, she illustrates how mec women’s outlooks are shaped by both their revolutionary roots within the Sandinista regime and their exposure to global discourses of human rights and citizenship. The complexities of the women’s labor movement analyzed in From the Revolution to the Maquiladoras speak to social and economic justice movements in the many locales around the world.
This collection offers new research on media issues related to the women's suffrage movement. Contributors incorporate media theory, historiography, and innovative approaches to social movements while discussing the vexed relationship between the media and debates over suffrage. Aiming to correct past oversights, the essays explore overlooked topics such as coverage by African American and Mormon-oriented media, media portrayals of black women in the movement, suffragist rhetorical strategies, elites within the movement, suffrage as part of broader campaigns for social transformation, and the influence views of white masculinity had on press coverage.
Contributors: Maurine H. Beasley, Sherilyn Cox Bennion, Jinx C. Broussard, Teri Finneman, Kathy Roberts Forde, Linda M. Grasso, Carolyn Kitch, Brooke Kroeger, Linda J. Lumsden, Jane Marcellus, Jane Rhodes, Linda Steiner, and Robin Sundaramoorthy
Latin American athletes have achieved iconic status in global popular culture, but what do we know about the communities of women in sport? Futbolera is the first monograph on women’s sports in Latin America. Because sports evoke such passion, they are fertile ground for understanding the formation of social classes, national and racial identities, sexuality, and gender roles. Futbolera tells the stories of women athletes and fans as they navigated the pressures and possibilities within organized sports.
Futbolera charts the rise of physical education programs for girls, often driven by ideas of eugenics and proper motherhood, that laid the groundwork for women’s sports clubs, which began to thrive beyond the confines of school systems. Futbolera examines how women challenged both their exclusion from national pastimes and their lack of access to leisure, bodily integrity, and public space. This vibrant history also examines women’s sports through comparative case studies of Argentina, Brazil, Chile, Costa Rica, Mexico, and others. Special attention is given to women’s sports during military dictatorships of the 1970s and 1980s as well as the feminist and democratic movements that followed. The book culminates by exploring recent shifts in mindset toward women’s football and dynamic social movements of players across Latin America.
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