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Rethinking the Femme Fatale in Film Noir: Ready for Her Close-Upby Julie Grossman
Synopses & Reviews
In the context of nineteenth-century Victorinoir and close readings of original-cycle film noir, Julie Grossman argues that the presence of the "femme fatale" figure, as she is understood in film criticism and popular culture, is drastically over-emphasized and has helped to sustain cultural obsessions with 'bad' women.
About the Author
JULIE GROSSMAN is a professor of English at Le Moyne College, New York, USA. She is co-editor of A Due Voci: The Photography of Rita Hammond and has published articles on film noir, Francis Ford Coppola, Todd Haynes, Oscar Wilde and Karen Finley, and Thomas Hardy and Henry James.
Table of Contents
List of Illustrations
Introduction: 'No One Mourns the Wicked'
PART I: FILM NOIR'S 'FEMME FATALES': MOVING BEYOND GENDER FANTASIES
'Well, aren't we Ambitious': Desire, Domesticity, and the 'Femme Fatale'
Psychological Disorders and 'Wiretapping the Unconscious': Film Noir Listens to Women
PART II: LOOKING BACK - VICTORINOIR: MODERN WOMEN AND THE FATAL(E) PROGENY OF VICTORIAN REPRESENTATIONS
Looking Forward - Deconstructing the 'Femme Fatale'
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