Description:
Put simply, this volume asks: what do women who are creatively engaged with audio-visual industries do with genre and what does genre do with them? The contributors to the collection respond to this question from diverse perspectives and with different answers, spanning issues of direction, screenwriting, performance and audience address/reception.
Review Quotes:
Long-listed for the Kraszna-Krausz Moving Image Book Awards for 2018
"The edited volume Women Do Genre in Film and Television joins an ever-growing list of feminist reappraisals of popular culture that have emerged in the last decade, coinciding with a resurgent feminism that has come to permeate popular as well as counter-cultural media. This collection of essays will be especially welcomed by lecturers seeking to broaden their course reading list with material addressing women on screen beyond those appearing in American cinema and media. Notably the volume includes chapters by Barbara Zecchi on Spanish women filmmakers, Brigitte Rollet on women in French television, and Sanghita Sen on women in Bollywood. Also of interest are chapters on female comics such as Melissa McCarthy, from Frances Smith, and Lena Dunham, from Mary Harrod. In addition, the collection presents fresh perspectives on the role of the woman director and her engagement with traditionally male genres--with Linda Badley discussing director Mary Harron's idiosyncratic biopics, E. Dawn Hall, director Kelly Reichardt's revisionist Western Meek's Cutoff (2010), and Katarzyna Paszkiewicz, the 2013 remake of the classic horror film Carrie, directed by Kimberly Peirce. Other chapters cover topics such as the "Outlander" novel/television franchise (Jorie Lagerwey), female media fandom (Frances Coppa), 1990s "Dark Comedy" (Nicole Richter), Nancy Meyers' 2000 What Women Want (Deborah Jermyn) and Nora Ephron's 2009 Julie and Julia (Roberta Garrett). As such, the book offers a rich and varied resource for scholars working in the area of gender and the media." - Hilary Radner, University of Otago
"This book resoundingly answers today's screaming need for rigorous feminist scholarship in film and television studies. The co-editors and contributors of Wom