Politics of the Self: Postmodernism and German Literature and Film. Richard McCormickFemmes Fatales: Feminism, Film Theory, Psychoanalysis. Mary Ann DoaneWomen and Soap Opera: A Study of Prime Time Soaps. Christine GeraghtyIn a Lonely Street: Film Noir, Genre, Masculinity. Frank Krutnik

Signs ◽  
1994 ◽  
Vol 19 (3) ◽  
pp. 786-791
Author(s):  
Caryl Flinn
Keyword(s):  
Film Theory ◽  
German Literature ◽  
Film Noir ◽  
Soap Opera ◽  
The Self ◽  
Prime Time ◽  
Literature And Film

Politics of the Self: Feminism and the Postmodern in West German Literature and Film

1992 ◽  
Vol 65 (3/4) ◽  
pp. 500
Author(s):  
Gerd Gemunden ◽  
Richard W. McCormick
Keyword(s):  
German Literature ◽  
The Self ◽  
Literature And Film

scholarly journals California and Irony in Mad Men

2012 ◽  
Vol 18 (2) ◽  
Author(s):  
Rodney Taveira
Keyword(s):  
Visual Rhetoric ◽  
Soap Opera ◽  
The Self ◽  
Television Series ◽  
The Past ◽  
Mad Men ◽  
Intimate Relations ◽  
The Aesthetic

The combination of melodramatic and art cinematic techniques and influences in AMC’s television series Mad Men (2007¬–) reveals how a melodramatic televisuality can image novel modes of social and intimate relations and an alternative to the archetypal American narrative of the self-made man. Set in 1960s’ America, the series uses a contemporaneous and cosmopolitan California to triangulate the formal and narrative insistence of the past on the present. This triangulation is played out by Don Draper’s relations with his family, women, and his former identities and by the representation of homosexuality throughout the series. The application of Lee Edelman’s concept of “sinthomosexuality” and Richard Rorty’s “liberal ironist” reveal a queer, visual rhetoric to the show’s narrative and formal structures, forming a queer irony that allows the show to straddle the aesthetic extremes of “quality TV” (Jane Feuer) and soap opera, which, in turn, queers the exemplary American heterosexuality of Don Draper.

Transformation and Glamour in the Cross-Cultural Makeover: Return to Eden, Khoon Bhari Maang and the Avenging Woman in Popular Hindi Cinema

2017 ◽  
Author(s):  
Michael Lawrence
Keyword(s):  
Cultural Identity ◽  
Plastic Surgery ◽  
Soap Opera ◽  
Cross Cultural ◽  
Prime Time ◽  
The Cross ◽  
Hindi Cinema ◽  
Transnational Film ◽  
James Dobson

Rakesh Roshan’s Khoon Bhari Maang (Blood-Smeared Forehead, India, 1988) is closely modelled on the iconic Australian television 3-part, mini-series Return to Eden (Karen Arthur, Kevin James Dobson, 1983), itself a self-conscious appropriation and strategic indigenisation of the melodramatic conventions and “feminised address” of the prime time American soap opera. In Return to Eden, a treacherous tennis champ marries a meek and dowdy heiress, Stephanie Harper, and throws her into alligator-infested waters; she survives, has plastic surgery, becomes a supermodel, and returns to exact revenge on her husband. In the transnational film remake, Khoon Bhari Maang, the heroine’s transformation is more extreme – in accordance with her revenge, which is more violent – and also more complex, in terms of cultural identity, since her journey, from frumpy Aarti to the sultry Jyoti, necessitates a negotiation of traditional/modern and Indian/non-Indian modes of womanhood (and this also resonates with the ‘reinvention’ of its star, Rekha, in the late 1970s). Drawing on recent discussions of the anxious “assemblage” of femininity in popular Hindi cinema this chapter focuses on issues raised by Khoon Bhari Maang’s presentation of the make-over conceit.

Politics of the Self: Feminism and the Postmodern in West German Literature & Film

1993 ◽  
Vol 16 (1) ◽  
pp. 157
Author(s):  
Friederike Eigler ◽  
Richard W. McCormick
Keyword(s):  
German Literature ◽  
The Self
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