Although Gilbert and Gubar concentrate their analysis on representations of madwomen and monster - women found in classical literature (much of which pre-dates the emergence of popular film), we submit that literature is a foundational antecedent to popular culture writ large, and thus provides fertile ground for exploring the origins of female madwomen and monsters and how they function as a narrative strategy in
popular films about women lawyers.
Not exact matches
Hepburn's official final
film before entering semi-retirement was Wait Until Dark, Terence Young's lean, nerve - racking adaptation of Frederick Knott's
popular stage play
about a newly blind
woman, Susy, trying to outwit a trio of drug - dealing thugs (played in the
film by Alan Arkin, Richard Crenna, and Jack Weston).
Professional
film critics — be they
women or men - are responsible for interpreting, contextualizing and making recommendations
about what is unquestionably one of the world's most
popular forms of entertainment and one of the nation's largest industries.
Wonder
Woman (Patty Jenkins, 2017), because it's the most powerful
popular feminist statement in mainstream cinema thus far, inspiring countless young
women and girls to dare to succeed; because Patty Jenkins more than deserved it after languishing in the wilderness of episodic television after her masterful
film Monster (2003), when any male director would have gone on to direct four of five features on the strength of that one
film; because it's
about damned time that a female comic book feature got made; because Jenkins still had to fight to get a fair payday to direct WW 2 — enduring months of fight - to - the - death negotiations to get a directorial fee comparable to that of Zack Snyder or J.J. Abrams for the sequel; and finally because she's better than either of those two directors, who are overrated hacks with little or no vision at all.
This will demonstrate that
popular film refracts certain societal truths
about the conditions under which
women are deemed «successful» and ways we might challenge those so - called truths.
Yet both law and
popular film continue to demonstrate these antagonistic views
about and toward
women.