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Framed: Women in Law and Film, Kamir, Orit, Good Book
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所在地：Harrisburg, Pennsylvania, 美國
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物品細節
- 物品狀況
- 良好
- 賣家備註
- ISBN
- 9780822336365
- Subject Area
- Social Science, Performing Arts
- Publication Name
- Framed : Women in Law and Film
- Item Length
- 9.8 in
- Publisher
- Duke University Press
- Subject
- Gender Studies, Women's Studies, Film / History & Criticism
- Publication Year
- 2006
- Type
- Textbook
- Format
- Hardcover
- Language
- English
- Item Height
- 0.6 in
- Item Width
- 5.9 in
- Item Weight
- 22 Oz
- Number of Pages
- 352 Pages
關於產品
Product Information
Theorizes the emerging field at the intersection of law and film through a detailed, feminist analysis of masterpiece films about law from around the world.
Product Identifiers
Publisher
Duke University Press
ISBN-10
0822336367
ISBN-13
9780822336365
eBay Product ID (ePID)
48636733
Product Key Features
Publication Name
Framed : Women in Law and Film
Format
Hardcover
Language
English
Subject
Gender Studies, Women's Studies, Film / History & Criticism
Publication Year
2006
Type
Textbook
Subject Area
Social Science, Performing Arts
Number of Pages
352 Pages
Dimensions
Item Length
9.8 in
Item Height
0.6 in
Item Width
5.9 in
Item Weight
22 Oz
Additional Product Features
LCCN
2005-025675
Intended Audience
College Audience
Lc Classification Number
Pn1995.9.W6k235 2006
Reviews
"In this fascinating book, Orit Kamir displays an original method for reading law and film that illuminates both a remarkable set of films from around the world and many of our deepest assumptions about law. All this is done from a powerful feministic perspective. I know nothing like it."-James Boyd White, author of The Edge of Meaning, “In this fascinating book, Orit Kamir displays an original method for reading law and film that illuminates both a remarkable set of films from around the world and many of our deepest assumptions about law. All this is done from a powerful feministic perspective. I know nothing like it.�-James Boyd White, author of The Edge of Meaning, " Framed is groundbreaking. It pushes law-and-film scholarship forward in significant ways. The question at its core is not how various groups are represented but rather the more difficult one of how we as legal or cinematic audiences are led to judge these groups. Orit Kamir doesn't simply 'do' an analysis of a group of films. Rather, she uses a set of films as a vehicle to explore the mechanisms of judgment."--Rebecca Johnson, author of Taxing Choices: The Intersection of Class, Gender, Parenthood, and the Law, “ Framed is groundbreaking. It pushes law-and-film scholarship forward in significant ways. The question at its core is not how various groups are represented but rather the more difficult one of how we as legal or cinematic audiences are led to judge these groups. Orit Kamir doesn’t simply ‘do’ an analysis of a group of films. Rather, she uses a set of films as a vehicle to explore the mechanisms of judgment.�-Rebecca Johnson, author of Taxing Choices: The Intersection of Class, Gender, Parenthood, and the Law, " Framed is groundbreaking. It pushes law-and-film scholarship forward in significant ways. The question at its core is not how various groups are represented but rather the more difficult one of how we as legal or cinematic audiences are led to judge these groups. Orit Kamir doesn't simply 'do' an analysis of a group of films. Rather, she uses a set of films as a vehicle to explore the mechanisms of judgment."-Rebecca Johnson, author of Taxing Choices: The Intersection of Class, Gender, Parenthood, and the Law, "Framed is groundbreaking. It pushes law-and-film scholarship forward in significant ways. The question at its core is not how various groups are represented but rather the more difficult one of how we as legal or cinematic audiences are led to judge these groups. Orit Kamir doesn't simply 'do' an analysis of a group of films. Rather, she uses a set of films as a vehicle to explore the mechanisms of judgment." Rebecca Johnson, author of Taxing Choices: The Intersection of Class, Gender, Parenthood, and the Law"In this fascinating book, Orit Kamir displays an original method for reading law and film that illuminates both a remarkable set of films from around the world and many of our deepest assumptions about law. All this is done from a powerful feministic perspective. I know nothing like it." James Boyd White, author of The Edge of Meaning, "In this fascinating book, Orit Kamir displays an original method for reading law and film that illuminates both a remarkable set of films from around the world and many of our deepest assumptions about law. All this is done from a powerful feministic perspective. I know nothing like it."--James Boyd White, author of The Edge of Meaning
Table of Content
Acknowledgments ix Preface xi Introduction: Conceptual Framework 1 Part I. Feminist Critique of Law Films that Honor-Judge Women 1. Rashomon (Japan, 1950): Construction of Woman as Guilty Object 43 2. Pandora's Box (Germany, 1928): Exorcising Pandora-Lilith in the Weimar Republic 73 3. Blackmail (England, 1929): Hitchcock's Sound and the New Woman's Guilty Silence 90 4. Anatomy of a Murder (U.S.A., 1959): Hollywood's Hero-Lawyer Revives the Unwritten Law 112 Part II. Cinematic Women Demanding Judgment From Liberal Attitudes to Radical Feminist Jurisprudence and the Ethics of Care 5. Adam's Rib (U.S.A., 1949): Hollywood's Female Lawyer and Family Values (Read with Disclosure and Legally Blonde ) 135 6. Nuts (U.S.A., 1987): The Mad Woman's Day in Court 160 7. Death and the Maiden (U.S.A., 1994): Challenging Trauma with Feminine Judgment and Justice (Read with The Piano ) 185 Part III. Women Resisting and Subverting Judgment Beyond Conventional Feminist Jurisprudence 8. A Question of Silence (Netherlands, 1982): Feminist Community as Revolution (Read against "A Jury of Her Peers") 217 9. Set it Off (U.S.A., 1996): Minority Women at the Point of No Return 243 10. High Heels (Spain, 1991): Almodovar's Postmodern Transgression 264 Notes 285 Bibliography 299 Index 313
Copyright Date
2006
Dewey Decimal
792.082
Dewey Edition
22
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物品所在地：
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