By Suzanne Ferriss
From An Affair to recollect to Legally Blonde, "chick flicks" have lengthy been either championed and vilified via men and women, students and well known audiences. Like other kinds of "chick culture," which the editors outline as a bunch of typically American and British pop culture media varieties targeted totally on twenty- to thirtysomething, middle-class—and usually college-educated—women, chick flicks were accused of reinscribing conventional attitudes and reactionary roles for ladies. nevertheless, they've been embraced as satisfying and probably releasing entertainments, helping girls in negotiating the demanding situations of latest existence. A significant other to the profitable anthology Chick Lit: the hot Woman’s Fiction, this edited quantity involves eleven unique essays, prefaced by means of an advent situating chick flicks in the higher context of chick tradition in addition to women’s cinema. The essays ponder chick flicks from various angles, pertaining to problems with movie background, lady sexuality (heterosexual and homosexual), femininity, girl friendship, age, race, ethnicity, type, consumerism, spectatorship, excitement and gender definition. An afterword via feminist movie theorist Karen Hollinger considers the chick flick’s transformation from the woman’s motion pictures of the ’40s to the friendship motion pictures of the ’80s and people of the "return to the classics" pattern of the ’90s, whereas highlighting the price of the volume’s contributions to modern debates and sketching percentages for additional examine.
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Additional resources for Chick Flicks: Contemporary Women at the Movies
However, the discourse of the ﬁlm seems aimed at a male-identiﬁed and conservative audience wishing to contain female desire and enforce the values of fidelity and female self-sacriﬁce. Yet, in representing the central male character as making a choice so clearly against his best interest and values as a minister, it is also presenting strong condemnation of such male behavior. This critical depiction of questionable male judgment perhaps could have appealed to female spectators, especially those whose traditional values chafed at modernist consumer culture introducing new tendencies in mate selection.
Perhaps part of the reason the woman’s ﬁlm of the Twenties and Thirties was less remarked upon for its gender-speciﬁc address was its liaison to melodramas of the Teens and the stage tradition before them that clearly had a broad audience of both sexes. Externalization of emotion as action and symbolic representation may have something to do with that crossgender appeal, most noticeable in the more action-oriented, historical silent melodramas. As in the serials, emotions and psychology are presented through actions and movement, with a foregrounding of fear and the overcoming of fear as the most primal and central of all emotions.
Html>. Van Slooten, Jessica Lyn. ” In Chick Lit: The New Woman’s Fiction. Ed. Suzanne Ferriss and Mallory Young. New York: Routledge, 2006: 219–38. Veblen, Thorstein. Theory of the Leisure Class. 1899. Introduction by Robert Lekachman. London: Penguin, 1994. Walker, Natasha. The New Feminism. London: Little, Brown, 1998. Wolf, Naomi. Fire With Fire: The New Female Power and How it Will Change the 21st Century. New York: Random, 1993. White, Patricia. unInvited: Classical Hollywood Cinema and Lesbian Representability.