Thursday 4 December 2008

'Bibliography: Books'

"In 1970s action-adventure shows, only 15 per cent of the leading characters were women".

Gauntlett, David (2002): ‘Media, Gender & Identity : An introduction’ PUBLISHER: (pg 43)

"Arguably however women within the superhero genre were not actually women but a sexual fantasy projection".

Dowd Todd Hignite,D.B. (2006): ‘Strips, Toons, and bluesies’ PUBLISHER: (pg 71)

The male gaze projects its fantasy on to the female figure, while in their traditional exhibitionist role women are both displayed and, as it were, coded to connote “to-be-looked-at-ness”.

Waugh,Patricia (2006): ‘Literary Theory and Criticism: An Oxford Guide’ PUBLISHER

(pg 510)

" ....and women being displayed for the gaze and enjoyment of men, the active controllers of the look, always threatens to evoke the anxiety it originally signified"

Photography: A critical introduction’ Liz Wells, (2004), pp 172

“In the 1950s, 1960s and 1970s, only 20 to 35 per cent of characters were females. By the mid- 1980s, there were more women in leading roles, but still there were twice as many men on screen”-pge 43 “Gaunter goes on to show how studies in the 1970s consistently found that marriage, parenthood and domesticity were shown on television to be more important for women than men"

“Gaunter (1995: 13-14).”-pg 43

“The role of a woman in a film almost always revolves around her physical attraction and the mating games she plays with the male characters”.

(1972: 13)Smith, Sharon (1972) ‘The image of women in film: some suggestions for future research’, Women and Film, 1, 13-21.

-“In Hollywood films, then, women are untimely refused a voice, a discourse, and their desire is subjected to male desire”.

(1983: 7-8)Kaplan, E. Ann (1983) Women and film: Both sides of the Camera, London: Methuen

-“In a world ordered by sexual imbalance, pleasure in looking has been split between active/male and passive/female. The determining male gaze projects its phantansy onto the female figure, which is styled accordingly. In their traditional exhibitions role women are simultaneously looked at and displayed, with their appearance coded for strong visual and erotic impact so that they can be said to connote to-be-lookes-at-ness.”

From- Laura Mulveys article ‘Visual Pleasure and narrative cinema’ in 1975 (reproduced in Hollows et al., 2000)

-‘Men looking at women; women watch themselves being looked at’,

as John Berger had put it (1972: 47).Berger, John (1972) Ways of seeing, London: Penguin

-“Even with more marriage the changes have been profound as more and more women have entered the labour force and gender roles have become more homogenous between husbands and wives”.

(Smith, Tom W. (1999) ‘Marriage wanes as American families enter new century’, National Opinion Research Centre at the University of Chicago

At school, for example, studies have suggested that British girls with non-traditional career aspirations are let down by their teachers and career advisors, who still shuttle girls ‘into “feminine” jobs such as supermarket sales for work experience’

(Apter, 2000).”(Apter, Terri (2000) ‘Bland Ambition’, Guardian, 6 April)

In the past the two stereotypical female images seen were Madonna, or whore

Madonna as the postmodern myth” by Georges-Claude Guilbert

“symbolic annihilation of women by the mass media”

G TUCHMAN - Issues in Feminism: A First Course in Women's Studies, 1980 - Houghton Mifflin College Div

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