000 03948nam a22005895i 4500
001 200017
003 IT-RoAPU
005 20221214233147.0
006 m|||||o||d||||||||
007 cr || ||||||||
008 210830t20132013nju fo d z eng d
010 _a2012038529
020 _a9780813561042
_qprint
020 _a9780813561059
_qPDF
024 7 _a10.36019/9780813561059
_2doi
035 _a(DE-B1597)9780813561059
035 _a(DE-B1597)526211
035 _a(OCoLC)859537565
040 _aDE-B1597
_beng
_cDE-B1597
_erda
050 0 0 _aPN1995.9.V85
_bH34 2013
050 4 _aPN1995.9.V85
_bH34 2013eb
072 7 _aSOC000000
_2bisacsh
082 0 4 _a791.43/655
_223
084 _aonline - DeGruyter
100 1 _aHagelin, Sarah
_eautore
245 1 0 _aReel Vulnerability :
_bPower, Pain, and Gender in Contemporary American Film and Television /
_cSarah Hagelin.
264 1 _aNew Brunswick, NJ :
_bRutgers University Press,
_c[2013]
264 4 _c©2013
300 _a1 online resource (226 p.) :
_b24 illustrations
336 _atext
_btxt
_2rdacontent
337 _acomputer
_bc
_2rdamedia
338 _aonline resource
_bcr
_2rdacarrier
347 _atext file
_bPDF
_2rda
505 0 0 _tFrontmatter --
_tContents --
_tAcknowledgments --
_tIntroduction: Unmaking Vulnerability --
_tPart I. The Cinematic Construction of Vulnerability --
_tPart II. Resistant Vulnerability after the Cold War --
_tPart III. Vulnerability beyond the Body --
_tAfterword: Female Power and Tarantino's Basterds --
_tNotes --
_tBibliography --
_tIndex --
_tAbout the Author
506 0 _arestricted access
_uhttp://purl.org/coar/access_right/c_16ec
_fonline access with authorization
_2star
520 _aWonder women, G.I. Janes, and vampire slayers increasingly populate the American cultural landscape. What do these figures mean in the American cultural imagination? What can they tell us about the female body in action or in pain? Reel Vulnerability explores the way American popular culture thinks about vulnerability, arguing that our culture and our scholarship remain stubbornly invested in the myth of the helplessness of the female body. The book examines the shifting constructions of vulnerability in the wake of the cultural upheavals of World War II, the Cold War, and 9/11, placing defenseless male bodies onscreen alongside representations of the female body in the military, in the interrogation room, and on the margins. Sarah Hagelin challenges the ways film theory and cultural studies confuse vulnerability and femaleness. Such films as G.I. Jane and Saving Private Ryan, as well as such post-9/11 television shows as Battlestar Galactica and Deadwood, present vulnerable men who demand our sympathy, abused women who don't want our pity, and images of the body in pain that do not portray weakness. Hagelin's intent is to help scholarship catch up to the new iconographies emerging in theaters and in living rooms-images that offer viewers reactions to the suffering body beyond pity, identification with the bleeding body beyond masochism, and feminist images of the female body where we least expect to find them.
530 _aIssued also in print.
538 _aMode of access: Internet via World Wide Web.
546 _aIn English.
588 0 _aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 30. Aug 2021)
650 0 _aMotion pictures
_zUnited States.
650 0 _aPain in motion pictures.
650 0 _aPower (Social sciences) in motion pictures.
650 0 _aSex role in motion pictures.
650 0 _aVulnerability (Personality trait) in motion pictures.
650 7 _aSOCIAL SCIENCE / General.
_2bisacsh
850 _aIT-RoAPU
856 4 0 _uhttps://doi.org/10.36019/9780813561059
856 4 0 _uhttps://www.degruyter.com/isbn/9780813561059
856 4 2 _3Cover
_uhttps://www.degruyter.com/cover/covers/9780813561059.jpg
942 _cEB
999 _c200017
_d200017