MARC Record from harvard_bibliographic_metadata

LEADER: 03155cam a2200325 a 4500
001 012189378-2
005 20100518135209.0
008 091104s2009 nyua bq 001 0 eng
010 $a 2009046265
020 $a9781604976632 (alk. paper)
020 $a1604976632 (alk. paper)
035 0 $aocn465190342
040 $aDLC$cDLC$dC#P$dYDXCP$dBWX
043 $an-us---
050 00 $aPN1995.9.F44$bJ67 2009
082 00 $a791.43/6522$222
100 1 $aJordan, Jessica Hope.
245 14 $aThe sex goddess in American film, 1930-1965 :$bJean Harlow, Mae West, Lana Turner, and Jayne Mansfield /$cJessica Hope Jordan.
260 $aAmherst, N.Y. :$bCambria Press,$cc2009.
300 $axvii, 258 p. :$bill. ;$c24 cm.
504 $aIncludes bibliographical references (p. [225]-247), filmographies, and index.
505 0 $aSex as cinematic capital : Jean Harlow and the economy of the gold digger -- Sex as a cinematic "queening" : Mae West decamps -- Sex as cinematic code : Lana Turner's star text and the duplicity of the femme fatale -- Sex as cinematic eroticism : Jayne Mansfield's breasts.
520 1 $a"In the first critical study of the sex goddess in film, Jessica Hope Jordan illustrates how Jean Harlow uses her sexualized body to "affect" and seduce viewers away from any primary identification with those characters and their plotlines that are supposed to lead the film, to identifying instead with the kind of sexual empowerment and self-possession her characters consistently display. Linking the idea of sexual empowerment to the filmic and public celebration of hyper-feminine sexuality, the book additionally covers previous feminist discussions of Mae West's performances as "feminist camp" to argue that West sought to both celebrate and embody for women viewers what she viewed as cultural ideals of femininity and women's sexuality. With Lana Turner and the "cinematic code," the book considers the many problems inherent in both the filmic and public celebration of hyper-feminine sexuality in relation to censorship and considers the effects of the Hays Code on hyper-feminine sexuality as depicted in film noir." "The book also importantly presents the first critical discussion of the actress Jayne Mansfield, suggesting that her 1950s open acceptance, celebration, and public promotion of her feminine sexuality, both onscreen and off, makes her not only a precursor of the more sexually liberated 60s, but also, like the other actresses discussed here, a kind of prescient performance artist, even theorist, of feminine sexuality in particular, and cultural ideas about sexuality more generally. Beyond recouping her image as feminist, the book demonstrates how the kind of desire aroused by the sex goddess, a desire which remains endlessly suspended, works as a supreme example of the aesthetic apparatus of cinema itself."--Jacket.
650 0 $aFemmes fatales in motion pictures.
650 0 $aSex in motion pictures.
650 0 $aMotion picture actors and actresses$zUnited States.
650 0 $aMotion pictures$zUnited States$xHistory$y20th century.
655 7 $aHistory.$2fast
988 $a20100127
906 $0DLC