Gender and Modernity in Post‐War British Cinema; a case study of Young Wives’ Tale (1951)

This article explores the interrelationship between gender and modernity within the context of post‐war Britain, focusing upon the representation of women in the popular film genre of the ‘marriage comedy’. It uses a case study of the 1951 film Young Wives’ Tale to explore post‐war ideas about the ‘companionate marriage’ and the emergence of a ‘modern’ British society. Critical examination of female performance style and the gendered negotiation of domestic space within the film suggests the ways in which anxieties about the ‘new’ and the ‘modern’ are displaced onto the female protagonists. The article explores the ways in which ‘tradition’ is usurped in the film and concludes that it was a box office failure because it was out of step with the cultural consciousness of post‐war cinema audiences. The film’s lack of success demonstrates the extent and manner to which gender relations could be challenged in the early 1950s.     

Homework

This article explores how plays in the 1890s engaged with an aspect of evolutionary theory that had become particularly vexed—namely, the idea of gender essentialism: whether motherhood was the true calling for women; whether the bond with the infant was inevitable and instinctive; whether, as Shaw's teleological, progressive vision would have it, the woman's evolutionary role was to be the ‘life force’, selecting the superior mate for the continued improvement of the species. Considering this question can deepen our understanding of the interaction between science and literature in this period, and also usefully complicate the narrative often told about the figure of the New Woman in drama. Two plays of this period address particularly well the question of what is ‘natural’ maternal behaviour: James A. Herne's Margaret Fleming (first staged in 1890) and Elizabeth Robins and Florence Bell's Alan's Wife (first staged and published in 1893).     

The Deathly Sleep of Frederic Leighton's Painted Women

In this article, the author argues that, towards the end of his life, Frederic Leighton (president of the Royal Academy from 1878 to 1896) became increasingly preoccupied with painting sleeping and entranced women as a way of simulating death. In turn, death in Leighton's art comes to look like pleasured sinking into unconsciousness accompanied by an irreversible bodily dissolution, which is registered in the multiplying of the ‘endless folds’ in the figures’ drapery. The author analyses key examples of paintings by Leighton of sleeping and sleepy women—namely, Cymon and Iphigenia (1884), The Garden of the Hesperides (1892) and Flaming June (1895)—within the context of late Victorian anxieties around sleep and its resemblance to death. In these works, Leighton twists and elongates the sleeping women's necks and limbs to make them appear dangerously serpentine, while increasing the activity of the drapery to register both the meanderings of the subconscious and the dissolution of the body. The drapery disorganizes classical form, taking on the appearance of liquid, hair and melted wax.     

what’s in a face?: Sara Baartman,the (post)colonial gaze and the case of <Emphasis Type="Italic">Vénus Noire</Emphasis> (2010)

The story of Sara Baartman, who was brought to Europe in 1810 to be exhibited as the erotic-exotic freak ‘Hottentot Venus’, is arguably the most famous case study of the scientific validation of (gendered) racism. Her scientific examination and post-mortem dissection by Georges Cuvier, who looked for an alleged connection between the Khoisan and the orangutan, have been the object of famous critical works (Gilman, 1985; Haraway, 1989; Fausto-Sterling, 1995), but also exposed her to the unpalatable fate of becoming the ‘quintessential’ figure of intersecting gender and racial oppressions. This paper deals with Abdellatif Kechiche’s film Vénus Noire (2010), which interestingly rearticulates the (in)famous narrative in unexpected ways. Shot by a male director who is also a postcolonial subject, the film exposes the performativity not only of gender and racial identities, but also of science theorisation, while at the same time raising the issue of whether exposing a violent male colonial gaze on a heavily exhibited woman can contribute to a counter-knowledge of her experience or rather risks reiterating the historical violence. The startling dynamic between the portrayed abuse and Kechiche’s peculiar filmic strategies is the crucial focus of this paper. While Sara’s body is continually exposed and violated, Vénus Noire relies on her face, shot in recurrent extreme close ups, as a haunting presence potentially exceeding violence. Drawing on Gilles Deleuze and Félix Guattari’s (1987 [1980]) account of the close up, I explore how Kechiche’s take on Sara’s face builds a strong connection with the spectator’s extra-filmic dimension. As a case of what Deleuze and Guattari call a ‘reflective face’, such close ups invest the viewer with the ethical responsibility of being complicit in the othering practices of (post)colonial times. Vénus Noire thus manages to engage the spectator’s own corporeal awareness of violence, and calls attention to the persisting exploitation of sexual and racial colonial tropes in the contemporary world.     

Tenderness,for Lynda Hart

Pedro Almodóvar and Judith Butler's respective projects have long shared an interest in the performativity of gender. More recently, Butler has turned her attention to thinking of rupture as constitutive of identity. Talk to Her reveals a similar turn in the director's work. This essay argues that Talk to Her employs the figure of a comatose woman who awakens in order to investigate the condition of wakefulness as a newly achieved consciousness. In doing so, the director also investigates the parameters of his own authorial condition: alternately embodied and disembodied, he reveals it to be effectively dispossessed. This essay rotates around the opening five minutes of the film, which introduce, in parallel, the space of the theater and that of the hospital–one a space of silence and the other a space for ‘talk,’ a place where the impetus of narrative cures. I argue that these two spaces underscore our condition of existing as bodies. I furthermore consider the role that melodrama–a genre described by its inclination toward embodiment, muteness, and excess–plays in articulating these themes.     

"No Make-Believe Class Struggle": The Socialist Municipal Campaign in Los Angeles, 1911

Seeking to establish a base for organizing California farmworkers, the National Farm Labor Union (NFLU) between 1948 and 1950 led a strike against DiGiorgio Fruit Corporation, the state's preeminent farming operation. Featuring several new developments—among them huge car and truck caravans of strikers that were described as ‘the world's longest picket line’ and a secondary boycott of DiGiorgio products that inaugurated a tactic that would later become a cornerstone of the farmworker movement—the strike was the first substantial challenge to California growers since the collapse of the farmworker movement a decade earlier. While these aspects are often mentioned by historians, there is another less understood but more profound dimension to the strike that revolves around a documentary film Poverty in the Valley of Plenty. Angered by its portrayal in the film, DiGiorgio won a libel case against the NFLU, suppressed the film, forced the union to withdraw and destroy all surviving prints, and for the next generation sued anyone caught showing Poverty in the Valley of Plenty. A watershed in labor and legal history, this tactic extended the law of libel from printed words to images. Presenting a fuller and more complete exploration of this critical chapter in the evolving relationship between photography, farmworkers, and labor organizing, this essay explores the way DiGiorgio eliminated unfavorable visual information, curbed First Amendment rights of free speech, augmented vigilante raids and accusations of communism as tactics of farmworker union smashing, undercut the NFLU's boycott, and substituted an entirely fictitious and benign picture of life and labor at its Bear Mountain ranch. Not until the Delano grape strike 25 years later did farmworkers succeed in finally getting their picture across to the public and using it to develop a boycott that turned the tables on California agriculture.     

paradise,built in hell: decolonising feminist utopias in <Emphasis Type="Italic">Top of the Lake</Emphasis> (2013)

Jane Campion and Gerard Lee’s miniseries Top of the Lake (2013) marked New Zealand-born but Australian resident Campion’s return to New Zealand for the first time since The Piano (1993). The show’s central subject of child sexual abuse by state officials echoes the different yet resonating political situations in twenty-first century Australia and New Zealand, a state of emergency that allows for the emergence of what Rebecca Solnit (2009) calls a ‘disaster community’. Implicitly addressing critiques of her colonialist gaze in the earlier film, the miniseries both decolonises the idea of the utopian no-place and offers an alternate, emplaced vision of relational, anti-colonial provisional utopia through the main, mirroring female characters, Detective Robin Griffin and her half-sister Tui Mitcham. In contrast to contemporaneous police procedurals focussed on lone female officers, Top of the Lake rejects the authority of the police state and offers a resolution aslant that critiques generic expectations of individual heroism and resolution within a legal framework. Looking specifically at how the show knows its place—Lake Wakatipu on South Island, New Zealand—the article offers a close reading of Top of the Lake’s formal critique of the male colonial gaze and its adoption of a feminist soundscape in relation to Campion’s oeuvre; and considers its politics through indigenous media theory, to argue that it marks an initial step towards a decolonisation of viewing practices in relation to feminist conceptions of utopia.     

Launching a New Journal: Women and Social Movements in the United States, 1600–2000

This article traces the founding and development of an online journal, Women and Social Movements in the United States, 1600–2000 (WASM), which Sklar & Dublin began editing in 2003. A quarterly journal, a database, and a website, WASM publishes edited collections of primary documents and full‐text sources that focus on the history of women and social activism in the United States. The journal’s editors discuss their experience in launching the journal and reach out to scholars in the UK to expand the transnational and comparative dimensions of the project.     

Transing the small screen: loving and hating transgender youth in Glee and Degrassi

The teen television shows Glee (2009-) and Degrassi (2001-) are notable for diversity in gender and sexuality representations. Glee represents a variety of masculine women and feminine men as well as gay, lesbian, and bisexual characters. Likewise, Canada's Degrassi franchise has portrayed non-heterosexual characters in significant and controversial ways. Its most recent incarnation, Degrassi (previously Degrassi: The Next Generation) is discussed in this article, alongside Glee, in relation to their recent inclusions of two transgender-identified teenagers bringing transgenderism to the fore of these programmes' discussions of gender and identity. As trans youth are highly vulnerable due to both systemic ageism and cisgenderism, it is not surprising that both detail narratives of discrimination and assault driven by bigotry and ignorance. Conversely, they also explore more positive aspects of the lives of young people, such as friendship and romance (even as these cause their own problems at times), also enjoyed by trans youth. As such, the themes of ‘love’ and ‘hate’ manifest in interesting ways in both of these televisual texts and guide this article's analysis. While challenging assumptions that trans lives are governed by negative emotional states, these representations continue to reify stereotypes, not only of transness, but also of boyhood, girlhood, race and their intersections. Both representations are grounded in material and emotional journeys (or movements) and the concept of the ‘moving body’ (Keegan, 2013 Keegan, C. M. (2013). Moving bodies: sympathetic migrations in transgender narrativity. Genders, 57. Retrieved from http://www.genders.org/g57/g57_keegan.html. [Google Scholar]) partly informs these readings. The privileging of certain modes of trans personhood and embodiment over less normative (unseen, unacknowledged, and thus invisible) ones is at stake in these representations, but they also lay the groundwork for diverse future depictions. By addressing this gap in research, this article elucidates how gender (diversity) is being constructed for consumption on adolescent television and its potential for (re)thinking trans/gender, identity, and embodiment for young people in contemporary Western societies.     

Editorial voices

Jack Smith is an artist on the margins of official narratives of art of the 1960s. This essay attempts to read his works as a means of questioning the challenges posed to normative readings of the work of culture, by presenting ideas about queer performance. Smith's almost hysterical identification with Maria Montez, a 1940s film siren, is privileged in my reading. Her key film, Cobra woman, turns on the image of a wound that will not heal. In this essay, I read the wound as signaling the breaches in our attempts at full communication, and compare this state of being to the idiosyncratic form of the camp effect, which functions as a kind of hieroglyph, or broken sign. Read through Maria Montez, the ‘failures’ of Smith's practice are explored in order to invogorate the seemingly exhausted discourse on camp, as well as to pose a critique of the ways in which certain bodies are failed by dominant culture.     

history as narration: resistance and subaltern subjectivity in Micaela Bastidas’ ‘confession’

This paper focusses on the negotiations in which many subaltern peoples engage within contexts of unequal power relations in colonial settings like eighteenth-century Peru. The trial and ‘confession’ of Micaela Bastidas, an indigenous mestiza and wife of the Inca rebel Túpac Amaru II, allows for an analysis of the complexity of her subjectivity and agency, both as products of colonial impositions and Andean notions of gender complementarity and power. As a woman, wife of a noble curaca and member of a conquered indigenous population, she defied rigidly bipolar colonial ethnic and gender norms. Skilfully engaging in ‘rituals of subordination’ through the manipulation of discriminatory colonial expectations, Micaela refused to share what was expected of her, subverting colonial gender and power hierarchies, albeit momentarily.     

Understanding ‘The Panty Shanty’: off-campus house signs as cultural texts on gender and sexuality

Students at a large, prestigious, public university in the Midwestern region of the USA have a long-standing tradition of naming their rented houses off campus and communicating those names to the student body through displaying prominent and eye-catching house signs. Examples of signs names and visual characteristics are: ‘Betty Ford Clinic’ (featuring an image of a martini glass); ‘Morning Wood’ (referencing male sexual arousal and depicting a tent with a man's legs sticking out); ‘Time Well Wasted’ (written in pink over a beach scene and a martini glass); ‘Fox Den’ (images of a fox tail and a well-known sorority symbol); ‘Tequila Mockingbird’ (a play on words); and ‘Down on U’ (the sign references a sexual act for a house located on University Avenue). Through a socio-feminist and social constructionist perspective, the researchers use content analysis to explore how these house signs serve as cultural texts on gender and sexuality norms in the American undergraduate college setting. Based on our data, house signs reinforce dominant forms of gender ideologies, including hegemonic masculinity and emphasized femininity, both of which are associated with upholding and promoting institutionalized patriarchy (Connell, R. W., &; Messerschmidt, J. W. (2005 Connell, R. W., &; Messerschmidt, J. W. (2005). Hegemonic masculinity: Rethinking the concept. Gender &; Society, 19, 829–859. 10.1177/0891243205278639.[Crossref], [Web of Science ®] , [Google Scholar]). Hegemonic masculinity: Rethinking the concept. Gender &; Society, 19, 829–859). These house signs are also shown through the data to promote a campus culture of heteronormativity where partying, drinking, and casual sex are standards for social belonging, and where high rates of sexual assault persist. As opposed to viewing house signs as simply manifestations of student wit and harmless humor, the researchers critically evaluate if and how these visual displays serve as a mechanism through which gender and sexuality-related inequalities are perpetuated within a higher education institutional setting. Implications for students and their college campuses are discussed.     

“Mad Agnes” Ebbsmith: Revolutionary Roles and Reconfigured Relationships in A. W. Pinero's the Notorious Mrs. Ebbsmith

In The Notorious Mrs. Ebbsmith, Arthur Pinero's use of the “fallen woman” plot is an unusual one, with implications for the 1890s “New Women's” agenda that have continuing relevance today. Linking gender issues to national, religious, and class issues, Pinero examines the limitations of advocacy rhetoric and personal exemplification in promoting social change, and he uses the often puzzling action of the play to explore the possibility of viable alternatives.     

Rebel masculinities of star/director/text: James Dean,Nicholas Ray,and Rebel Without a Cause

Director Nicholas Ray is arguably most familiar to cinema culture as the American test case for la politique des auteurs, the influential mode of film criticism formulated at the French magazine Cahiers du Cinéma after World War II. Ray was elevated to the status of film ‘author’ for a consistency of vision and style associated with rebellion. Yet, he was known in the film industry as an ‘actor's director,’ both for his background in theater and for bringing Lee Strasberg's ‘The Method’ to Hollywood after it had gained considerable cachet at the Actors Studio in New York since the 1930s. Although Ray was relatively unknown among the movie-going public, his films were (and still remain) recognizable for their male stars, including James Dean, Robert Mitchum, and Humphrey Bogart. In this essay, I look at his most famous film, Rebel Without a Cause (1955 Rebel Without a Cause, 1955. Film. Directed by Nicholas Ray. USA: Warner Bros. [Google Scholar]), to argue that Ray's reputation as a rebel auteur was as much the product of highbrow auteurist film criticism as the mass cultural persona of ‘rebel male hero’ that the film's star James Dean cultivated. As an actor, Dean was promoted at the vanguard of an innovative and experimental new performance style. Further, his star-performance text reveals a construction of masculinity that the film asks us to view as socially rebellious, which is retroactively linked to Ray. Both the film and the popular press form Dean's image constituted by his self-fashioned sense of authenticity, his non-normative sexuality, his highly publicized death, and the identification with an alternative family structure his role invites.     

Voices from the feminine margin: Izumi Shikibu and the nuns of Kumano and Seiganji

Kara Walker's 2005 multimedia creation, Song of the South, marks an important transitional moment in Walker's critical artistic practice, described in this essay as a ‘performative turn’. A close study of the work reveals Walker's increasing attentiveness to engage with the viewer's presence as well as incorporating her own personal and collective experiences as an African-American woman with even greater intimacy than in her previous projects. These elements, combined with Walker's use of filmic interventions and her own body as both a represented image and live performer, result in the production of a richly layered and provocative work of art. Song of the South reflects Walker's continued ability to exacerbate the stinging wounds of history while challenging us to address the trauma of the past as manifested in today's societal ills.     

Ada's Piano Playing in Jane Campion's The Piano

Since the late eighteenth century, when the piano first became available for the private home, numerous female characters in literature have demonstrated their skill on the instrument. In nineteenth-century British novels, the prevalence of piano-playing women reflected the contemporary social expectation that middle-class women display some level of competence on the instrument. Yet representations of women pianists in twentieth-century films such as Jane Campion's The Piano (1992 Campion. Jane, dir . The Piano . Australian Film Commission/CiBy 2000/New South Wales Film and Television Office , 1992 .  [Google Scholar]) reflect a persistent Romantic fascination with women's piano playing as a means of expressing authentic inner emotion, especially sexual passion. In this paper I provide an overview of existing historical scholarship on the significance of the piano in nineteenth-century British and colonial culture. In light of this cultural history, I examine Campion's feminist reworking of the Romantic ideal of the artist. Judith Butler's model of performative subjectivity enables us to see the constructed nature of the Romantic ideal of individual self-expression as deployed in The Piano. In Campion's film, Ada's pianistic performance functions as a literal metaphor for the constitution of her subjectivity in the Butlerian sense. Moving beyond a critique of the Romantic model of artistic self-expression, however, I read the central violent conflict of the film as a specifically Victorian collision between genteel feminine and Romantic models of musical performance, the locus of which is the body of the piano-playing woman—Ada.     

The Nationalization of Motherhood and the Stretching of its Boundaries: Shelihot Aliyah and evacuees in Eretz Israel (Palestine) in the 1940s

This article examines perceptions of motherhood as they developed during the late 1940s in the midst of the national struggle for independence in Eretz Israel (Palestine). It considers two case studies in which mothers who were ‘recruited’ by the emerging nation were temporarily separated from their children. The first case concerns women emissaries (Shelihot) who were called to help in Jewish refugee camps in Europe after the Holocaust. The second case involves mothers who were not evacuated with their children from their settlements during the War of Independence but remained, instead, at the front line. These situations led to the development of new perceptions of women and motherhood, which were shaped and matured during the national struggle for independence. The two case studies are used as lenses to explore women's own experiences and perceptions against the backdrop of the intensified idealization of motherhood in times of emergency circumstances.     

Olive Banks (1923–2006): an appreciation

This Appreciation of Olive Banks (1923–2006) draws upon her memoir published in Women’s History Review, Vol. 8, No. 3, 1999, pp. 401–410, and upon the author’s recollections of and correspondence with her. Born into a solidly working‐class family, Olive Banks overcame the disadvantages of her social class background and gender to become an internationally recognised Professor of Sociology, well known for her contribution to the developing field of the sociology of education and especially for her pioneering work on the history of feminism. Her contribution to women’s history was important at a time when the discipline was developing as an academic field of study in higher education in the 1980s in the USA and Britain.     

Caring consumption as marketing schema: representations of motherhood in an era of hyperconsumption

What can representations of women's ‘caring consumption’ (Thompson 1996 Thompson, C., 1996. Caring consumers: gendered consumption meanings and the juggling lifestyle. Journal of consumer research, 22, 388–407. Available from: http://www.jstor.org/stable/2489789.[Crossref], [Web of Science ®] , [Google Scholar]) reveal about broad cultural understandings of the nature of motherhood? We study Canadian television advertisements to gain insight into the production of cultural schemas and the reproduction of beliefs about gender and motherhood. Employing an inductive qualitative analysis of portrayals of mothers and women who are not depicted as mothers, we find that the defining feature of mothers' consumption is a unidimensional depiction of control and caring for others, presented as self-evidently gratifying and fulfilling, in the absence of competing consumption goals. Mothers' identity emerges solely from successful consumer choices that benefit others. Such unidimensional representations of consumption stand in contrast to the consumption of women who are not depicted as mothers, who are found to engage in hyperbolic and indulgent consumption targeted towards self-gratification. We thus provide novel empirical data which show that depictions of consumption in mothers and in women not depicted as mothers are extreme in nature. Our findings provide support for, and elaborate on, the concept of ‘caring consumption’ by helping to make sense of media representations appearing within the conjunction of the contemporary marketing context of hyperconsumption, and the parenting/gender context of intensive mothering. By examining extreme consumption in television advertisements, we gain insight into features of maternal consumption ideals that may not be observable in everyday instantiations, such as the lack of mothers' consumption for self-benefit.