000			03945nam a22006135i 4500
001			216474
003			IT-RoAPU
005			20221214234235.0
006			m|||||o||d||||||||
007			cr || ||||||||
008			220524t20222016stk fo d z eng d
019			_a(OCoLC)1302163586
020			_a9781474406895 _qprint
020			_a9781474406901 _qPDF
024	7		_a10.1515/9781474406901 _2doi
035			_a(DE-B1597)9781474406901
035			_a(DE-B1597)615538
035			_a(OCoLC)1301547340
040			_aDE-B1597 _beng _cDE-B1597 _erda
072		7	_aPER004000 _2bisacsh
084			_aonline - DeGruyter
100	1		_aWilkins, Heidi _eautore
245	1	0	_aTalkies, Road Movies and Chick Flicks : _bGender, Genre and Film Sound in American Cinema / _cHeidi Wilkins.
264		1	_aEdinburgh : _bEdinburgh University Press, _c[2022]
264		4	_c©2016
300			_a1 online resource (216 p.) : _b15 B/W illustrations
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
347			_atext file _bPDF _2rda
505	0	0	_tFrontmatter -- _tContents -- _tAcknowledgements -- _tIntroduction -- _t1 Talking Back: Voice in Screwball Comedy -- _t2 All That Jazz: The Diegetic Soundtrack in Melodrama -- _t3 The Alienated Male: Silence and the Soundtrack in New Hollywood -- _t4 Brothers in Arms: Masculinity and the Vietnam War Movie -- _t5 Subversive Sound: Gender, Technology and the Science Fiction Blockbuster -- _t6 Girl Talk: The Postmodern Female Voice in Chick Flicks -- _tConclusion -- _tBibliography -- _tFilmography and Other Sources -- _tIndex
506	0		_arestricted access _uhttp://purl.org/coar/access_right/c_16ec _fonline access with authorization _2star
520			_aOffers a detailed and innovative discussion of film sound and gender in mainstream US cinemaThe representation of gender in film remains an intensely debated topic, particularly in academic considerations of US mainstream cinema where it is often perceived as perpetuating rigid, binary views of gender, and reinforcing patriarchal, dominant notions of masculinity and femininity. While previous scholarly discussion has focused on visual or narrative portrayals of gender, this book considers the ways that film sound - music, voice, sound effects and silence - is used to represent gender. Taking a socio-historical approach, Heidi Wilkins investigates a range of popular US genres including screwball comedy, the road movie and chick flicks to explore the ways that film sound can reinforce traditional assumptions about masculinity and femininity, impart ambivalent meanings to them, or even challenge and subvert the notion of gender itself. Case studies include Mildred Pierce, Aliens and The Deer Hunter.
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 24. Mai 2022)
650		0	_aFilm genres.
650		0	_aGender identity in motion pictures.
650		0	_aMotion pictures _xSound effects _xUnited States.
650		0	_aMotion pictures _zUnited States _xSound effects.
650		0	_aRoad films _xHistory and criticism _xUnited States.
650		0	_aRoad films _zUnited States _xHistory and criticism.
650		0	_aRomance films _xHistory and criticism _xUnited States _xUnited States.
650		0	_aRomance films _zUnited States _xHistory and criticism.
650		0	_aWomen in motion pictures.
650		4	_aFilm, Media & Cultural Studies.
650		7	_aPERFORMING ARTS / Film & Video / General. _2bisacsh
850			_aIT-RoAPU
856	4	0	_uhttps://doi.org/10.1515/9781474406901?locatt=mode:legacy
856	4	0	_uhttps://www.degruyter.com/isbn/9781474406901
856	4	2	_3Cover _uhttps://www.degruyter.com/document/cover/isbn/9781474406901/original
942			_cEB
999			_c216474 _d216474