Edinburgh University Press
Talkies, Road Movies and Chick Flicks
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Heidi Wilkins
About this book
The 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 His Girl Friday, Easy Rider and Bridesmaids.
Topics
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Frontmatter
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Contents
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Acknowledgements
vi -
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Introduction
1 -
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1 Talking Back: Voice in Screwball Comedy
9 -
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2 All That Jazz: The Diegetic Soundtrack in Melodrama
44 -
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3 The Alienated Male: Silence and the Soundtrack in New Hollywood
76 -
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4 Brothers in Arms: Masculinity and the Vietnam War Movie
99 -
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5 Subversive Sound: Gender, Technology and the Science Fiction Blockbuster
125 -
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6 Girl Talk: The Postmodern Female Voice in Chick Flicks
149 -
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Conclusion
186 -
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Bibliography
192 -
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Filmography and Other Sources
201 -
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Index
206