American Postfeminist Cinema: Women, Romance And Contemporary Culture University Press Scholarship Online

In light of their tremendous gains in the political and professional sphere, why is it that most contemporary American films aimed at women still focus almost exclusively on their pursuit of a heterosexual romantic relationship? American Postfeminist Cinema explores this question and is the first book to examine the symbiotic relationship between heterosexual romance and postfeminist culture. The book argues that since 1980, postfeminism's most salient tensions and anxieties have been reflected and negotiated in the American romance film. Case studies from a broad range of Hollywood and independent films and other media texts reveal how the postfeminist romance cycle is intertwined with contemporary women's ambivalence and broader cultural anxieties about their changing social and political status. This accessible and engaging book offers a new perspective on both popular American romance films and postfeminist cultural criticism. It continues the tradition of feminist analysis of romance as a significant media genre for women and is essential reading for students and scholars in Film Studies, Cultural Studies, and Gender Studies. About the series: Traditions in American Cinema explores a wide range of traditions in American cinema which are in need of introduction, investigation or critical reassessment. Each book emphasizes the multiplicity rather than the supposed homogeneity of studio era and independent filmmaking. This Book Examines A Cycle Of Post-feminist Films That Adopt The Conventions Of Romance. In Light Of Their Tremendous Gains In The Political And Professional Sphere, And Their Ever Expanding Options, Why Do Most Contemporary American Films Aimed At Women Still Focus Almost Exclusively On Their Pursuit Of A Heterosexual Romantic Relationship? This Book Explores This Question And Is The First Book To Examine The Symbiotic Relationship Between Heterosexual Romance And Postfeminist Culture. The Book Argues That Since 1980, Postfeminism's Most Salient Tensions And Anxieties Have Been Reflected In The American Romance Film. Case Studies Of A Broad Range Of Hollywood And Independent Films Reveal How The Postfeminist Romance Cycle Is Intertwined With Contemporary Women's Ambivalence And Broader Cultural Anxieties About Women's Changing Social And Political Status. It Offers A New Perspective On Romance Films By Examining The Symbiotic Relationship Between Romance And Postfeminism. It Analyses The Recurring Narrative And Discursive Patterns Of Postfeminist Cinema. It Continues The Tradition Of Feminist Analysis Of Romance As A Significant Media Genre For Women. Machine Generated Contents Note: 1.`both Glad And Sorry': Romance Cycles And Women's Politics -- 2. Pragmatism Vs. Sentimentality: Amelioration In The Postfeminist Cycle -- 3. Past Vs. Present: Temporality In The Postfeminist Cycle -- 4. Sexy Vs. Funny: Sexuality In The Postfeminist Cycle -- 5. Independence Vs. Dependence: Economics In The Postfeminist Cycle. Michele Schreiber. Includes Bibliographical References (pages 178-187) And Index. Examines a cycle of postfeminist films that adopt the conventions of romance

In light of their tremendous gains in the political and professional sphere, and their ever expanding options, why do most contemporary American films aimed at women still focus almost exclusively on their pursuit of a heterosexual romantic relationship? American Postfeminist Cinema explores this question and is the first book to examine the symbiotic relationship between heterosexual romance and postfeminist culture. The book argues that since 1980, postfeminism's most salient tensions and anxieties have been reflected in the American romance film. Case studies of a broad range of Hollywood and independent films reveal how the postfeminist romance cycle is intertwined with contemporary women's ambivalence and broader cultural anxieties about women's changing social and political status.

Key Features

• Offers a new perspective on both popular American romance films and postfeminist cultural criticism by examining the symbiotic relationship between romance and postfeminism
• Analyses the recurring narrative and discursive patterns of postfeminist cinema
• Includes 13 case studies of popular postfeminist films and other media texts, including television programmes
• Continues the tradition of feminist analysis of romance as a significant media genre for women In light of their tremendous gains in the political and professional sphere, and their ever expanding options, why is it that most contemporary American films aimed at women still focus almost exclusively on their pursuit of a heterosexual romantic relationship? American Postfeminist Cinema explores this question and is the first book to examine the symbiotic relationship between heterosexual romance and postfeminist culture. The book argues that since 1980, postfeminism's most salient tensions and anxieties have been reflected and negotiated in the American romance film. Case studies of a broad range of Hollywood and independent films reveal how the postfeminist romance cycle is intertwined with contemporary women's ambivalence and broader cultural anxieties about women's changing social and political status. Title page Imprint CONTENTS Acknowledgments Illustrations INTRODUCTION: WOMEN, POSTFEMINISM AND ROMANCE 1. ‘BOTH GLAD AND SORRY’: ROMANCE CYCLES AND WOMEN’S POLITICS 2. PRAGMATISM VS. SENTIMENTALITY: AMELIORATION IN THE POSTFEMINIST CYCLE 3. PAST VS. PRESENT: TEMPORALITY IN THE POSTFEMINIST CYCLE 4. SEXY VS. FUNNY: SEXUALITY IN THE POSTFEMINIST CYCLE 5. INDEPENDENCE VS. DEPENDENCE: ECONOMICS IN THE POSTFEMINIST CYCLE CONCLUSION: BEGINNINGS VS. ENDINGS: THE FUTURE OF THE POSTFEMINIST CYCLE Selected bibliography Index Examines a cycle of postfeminist films that adopt the conventions of romance. This book explores the symbiotic relationship between heterosexual romance and postfeminist culture. It offers a fresh perspective on both popular American romance films and postfeminist cultural criticism.