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Whether in mainstream or independent films, depictions of female prostitution and promiscuity are complicated by their intersection with male fantasies. In such films, issues of exploitation, fidelity, and profitability are often introduced into the narrative, where sex and power become commodities traded between men and women. In Selling Sex on Screen: From Weimar Cinema to Zombie Porn, Karen A. Ritzenhoff and Catriona McAvoy have assembled essays that explore the representation of women and sexual transactions in film and television. Included in these discussions are the films Breakfast at…mehr
Whether in mainstream or independent films, depictions of female prostitution and promiscuity are complicated by their intersection with male fantasies. In such films, issues of exploitation, fidelity, and profitability are often introduced into the narrative, where sex and power become commodities traded between men and women. In Selling Sex on Screen: From Weimar Cinema to Zombie Porn, Karen A. Ritzenhoff and Catriona McAvoy have assembled essays that explore the representation of women and sexual transactions in film and television. Included in these discussions are the films Breakfast at Tiffany's, Eyes Wide Shut, L.A. Confidential, Pandora's Box, and Shame and such programs as Buffy the Vampire Slayer and Gigolos. By exploring the themes of class differences and female economic independence, the chapters go beyond textual analysis and consider politics, censorship, social trends, laws, race, and technology, as well as sexual and gender stereotypes. By exploring this complex subject, Selling Sex on Screen offers a spectrum of representations of desire and sexuality through the moving image. This volume will be of interest not only to students and scholars of film but also researchers in gender studies, women's studies, criminology, sociology, film studies, adaptation studies, and popular culture.
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Autorenporträt
Karen A. Ritzenhoff is professor in the Department of Communication at Central Connecticut State University. Ritzenhoff is the coeditor of Heroism and Gender in War Films (2014) with Jakub Kazecki; Border Visions: Diaspora and Identity in Film (2013) with Jakub Kazecki and Cynthia J. Miller; Screening the Dark Side of Love: From Euro- Horror to American Cinema (2012) with Karen Randell; and Sex and Sexuality in a Feminist World (2009) with Katherine Hermes. In 2011, she also coedited a special media journal, Augenblick: Images of the Iraq War (with Angela Krewani). Catriona McAvoy is a filmmaker based in London. She runs a digital onset and lab services company, First-Light.tv. She wrote a chapter in the book Stanley Kubrick: New Perspectives (2015) and interviews with cast and crew in Studies in the Horror Film: The Shining Vol. 1 & 2 (2015), as well as an article in the forthcoming "Kubrick and Adaptation" special issue in the journal Adaptation (2015).
Inhaltsangabe
Acknowledgments Preface: Deborah Jermyn IntroductionKaren A. Ritzenhoff and Catriona McAvoy Chapter 1: The Sexual Economy and the New Woman: Images of Prostitution in Weimar Cinema Tom Saunders Chapter 2: Early representations of female prostitution in Pandora's Box (1929) Clémentine Tholas-Disset Chapter 3: How the Production Code Tapped Out the Mother Lode: Women, Sex, and Busby Berkeley's Gold Diggers Films Tiel Lundy Chapter 4: "Birdie, don't I get something for my dollar?" The "Tutor-Code" of Sex Trade in the Golden Age of Television Westerns Gaylyn Studlar Chapter 5: Economics, Empathy, and Expectation: History and Representation of Rape and Prostitution in Late 1980s Vietnam War Films Amanda Boczar Chapter 6: She Wolves: The Monstrous Women of Nazisploitation Cinema Brian E. Crim Chapter 7: Delicate Reports: Prostitution in Sergio Martino's mondo film Wages of Sin (Mille peccati.nessuna virtù, 1969) Andreas Ehrenreich Chapter 8: Cha Ching!: Getting Paid in Breakfast at Tiffany's and Showtime's Gigolos Janet Robinson Chapter 9: Machines, Mirrors, Martyrs, and Money: Prostitutes and Promiscuity in Steve McQueen's Shame (2011) and Stanley Kubrick's Eyes Wide Shut (1999) Catriona McAvoy and Karen A. Ritzenhoff Chapter 10: "They're Selling an Image:" "Hookers Cut to Look Like Movie Stars" in L.A. Confidential (1997) Rochelle Sara Miller Chapter 11: Selling Sex, along with everything else: "Darla" as Mark(et)ed Woman in Joss Whedon's Buffy, the Vampire Slayer Wendy Sterba Chapter 12: What Happens to the Money Shot? Why Zombie Porn Can't Get the Audience to Bite James J. Ward Index About the Editors and Contributors
Acknowledgments Preface: Deborah Jermyn IntroductionKaren A. Ritzenhoff and Catriona McAvoy Chapter 1: The Sexual Economy and the New Woman: Images of Prostitution in Weimar Cinema Tom Saunders Chapter 2: Early representations of female prostitution in Pandora's Box (1929) Clémentine Tholas-Disset Chapter 3: How the Production Code Tapped Out the Mother Lode: Women, Sex, and Busby Berkeley's Gold Diggers Films Tiel Lundy Chapter 4: "Birdie, don't I get something for my dollar?" The "Tutor-Code" of Sex Trade in the Golden Age of Television Westerns Gaylyn Studlar Chapter 5: Economics, Empathy, and Expectation: History and Representation of Rape and Prostitution in Late 1980s Vietnam War Films Amanda Boczar Chapter 6: She Wolves: The Monstrous Women of Nazisploitation Cinema Brian E. Crim Chapter 7: Delicate Reports: Prostitution in Sergio Martino's mondo film Wages of Sin (Mille peccati.nessuna virtù, 1969) Andreas Ehrenreich Chapter 8: Cha Ching!: Getting Paid in Breakfast at Tiffany's and Showtime's Gigolos Janet Robinson Chapter 9: Machines, Mirrors, Martyrs, and Money: Prostitutes and Promiscuity in Steve McQueen's Shame (2011) and Stanley Kubrick's Eyes Wide Shut (1999) Catriona McAvoy and Karen A. Ritzenhoff Chapter 10: "They're Selling an Image:" "Hookers Cut to Look Like Movie Stars" in L.A. Confidential (1997) Rochelle Sara Miller Chapter 11: Selling Sex, along with everything else: "Darla" as Mark(et)ed Woman in Joss Whedon's Buffy, the Vampire Slayer Wendy Sterba Chapter 12: What Happens to the Money Shot? Why Zombie Porn Can't Get the Audience to Bite James J. Ward Index About the Editors and Contributors
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