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Edinburgh University Press
Kapitel
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6. WHAT A WOMAN WANTS? NANCY MEYERS’S THE INTERN
Kapitel in diesem Buch
- Frontmatter i
- CONTENTS v
- FIGURES vi
- ACKNOWLEDGEMENTS viii
- INTRODUCTION: IMPOSSIBLE LIAISONS? GENRE AND FEMINIST FILM CRITICISM 1
- 1. SUBVERSIVE AUTEUR, SUBVERSIVE GENRE 34
- 2. REPEAT TO REMAKE: DIABLO CODY AND KARYN KUSAMA’S JENNIFER’S BODY 60
- 3. HOLLYWOOD TRANSVESTITE: KATHRYN BIGELOW’S THE HURT LOCKER 100
- 4. GENRE IN THE MARGINS: KELLY REICHARDT’S MEEK’S CUTOFF 134
- 5. GENRE ON THE SURFACE: SOFIA COPPOLA’S MARIE ANTOINETTE 173
- 6. WHAT A WOMAN WANTS? NANCY MEYERS’S THE INTERN 209
- AFTERWORD: DESPERATELY SEEKING WONDER WOMEN 254
- BIBLIOGRAPHY 264
- INDEX 286
Kapitel in diesem Buch
- Frontmatter i
- CONTENTS v
- FIGURES vi
- ACKNOWLEDGEMENTS viii
- INTRODUCTION: IMPOSSIBLE LIAISONS? GENRE AND FEMINIST FILM CRITICISM 1
- 1. SUBVERSIVE AUTEUR, SUBVERSIVE GENRE 34
- 2. REPEAT TO REMAKE: DIABLO CODY AND KARYN KUSAMA’S JENNIFER’S BODY 60
- 3. HOLLYWOOD TRANSVESTITE: KATHRYN BIGELOW’S THE HURT LOCKER 100
- 4. GENRE IN THE MARGINS: KELLY REICHARDT’S MEEK’S CUTOFF 134
- 5. GENRE ON THE SURFACE: SOFIA COPPOLA’S MARIE ANTOINETTE 173
- 6. WHAT A WOMAN WANTS? NANCY MEYERS’S THE INTERN 209
- AFTERWORD: DESPERATELY SEEKING WONDER WOMEN 254
- BIBLIOGRAPHY 264
- INDEX 286