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From La Strada to The Hours Suffering and Sovereign Women in the Movies

The book covers a wide range of cinematic femininities: It starts with Marilyn Monroe’s cool phrase "We are all of us stars, and we deserve to twinkle", which self-confidently marked her profession - with a wink, because she did not say "to sparkle". The (self-) staging of women...

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Bibliographic Details
Other Authors: Pramataroff-Hamburger, Vivian (Editor), Hamburger, Andreas (Editor)
Format: eBook
Language:English
Published: Berlin, Heidelberg Springer Berlin Heidelberg 2024, 2024
Edition:1st ed. 2024
Subjects:
Communication
Media And Communication
Behavioral Sciences And Psychology
Culture / Study And Teaching
Psychology
Cultural Studies
Psychotherapy
Psychotherapy   
Online Access:
Collection: Springer eBooks 2005- - Collection details see MPG.ReNa
Table of Contents:
  • Part III.Mothers and Daughters
  • Chapter 9. Why mothers are immortal – (All about my mother)
  • Chapter 10 . Understanding Bridget Jones.The staging of post-feminist female identity in Bridget Jones's Diary (GB, IRL, F 2001)
  • Chapter 11. From LA STRADA TO THE HOURS – Suffering or Sovereign Femininity in Feature Films
  • Part IV. Women's suffering. Illness and mystery in the film
  • Chapter 12. Black Swan
  • Chapter 13. "You Freud, me Jane?" – Images of Womanhood and love in Alfred Hitchcock's Marnie (US 1964)
  • Chapter 14. Thrill and Suffering – Misery (US 1990)
  • Chapter 15. You are the only person who can give me back myself": The passions of self-image and ego distortion – Der Liebeswunsch [The Love Wish] (D 2006)
  • Part V. String Pullers. When women control events
  • Chapter 16. Alfred Hitchcock’s Rebecca: The Replacement Wife
  • Chapter 17. Women’s Truth Witness for the Prosecution, US 1958
  • Chapter 18. I’m Not Your Nice Girl – Gone Girl (US 2014)
  • Part I. “We are all of us stars, and we deserve to twinkle.” Self-presentations as objects of desire
  • Chapter 1 . Sunset Boulevard: Diva as Demon
  • Chapter 2. Breakfast at Tiffany's, style icon as a lifelong lie
  • Chapter 3. Le Mépris (Jean-Luc Godard 1963) and its story of cinema: a ‘fabric of quotations’
  • Chapter 4. look behind the veil – What is actually "obscure" about Luis Buñuel's film, That Obscure Object of Desire? (Cet obscur objet du désir, F, ES 1977)
  • Part II. Strong Feelings. Women as persistent subjects
  • Chapter 5. Poetry and reality. Devastated Landscapes of the soul: La Strada (The Road, I 1954)
  • Chapter 6. Woman as a Black Bird – The Presentation of Femininity in Alfred Hitchcock's The Birds (US 1963)
  • Chapter 7. Trauma, Depression and Transgenerational Suicidal Tendency – Psychoanalytical Notes on the Film Die Wand [The Wall] (A, D 2012)
  • Chapter 8. Resilient Femininity in Three Billboards Outside Ebbing, Missouri
  • Chapter 19. Gateway to the Night – The Night Porter(Il portiere di notte, I 1974)
  • Chapter 20. In Search of the Lost Mother – The Piano (NZ, AU, F 1993)
  • Part VI . Revolt against the camera. The uprising against “male gaze”
  • Chapter 21. A Woman in Limbo – Lost in Translation (US 2003)
  • Chapter 22. Pursuing Emptiness - Obsession and (im) potence in Kathryn Bigelow's Blue Steel (US 1990)
  • Part VII . Artifacts and Fantasized Women
  • Chapter 23. S.O.S. - Spike Jonze's Her as a film about object relations and grief
  • Chapter 24. Vagina dentata – Underworld (US, GB, H, D 2003)
  • Part VIII . Self-empowerment and identity
  • Chapter 25. Keep Going – Thelma & Louise (US, 1991)
  • Chapter 26. From Eternity to Eternity(The Hours, US, 2002)
  • Chapter 27. Love with a Salty Taste – Carol (GB, US 2015)
  • Chapter 28. The end of a great love? – Blue Valentine (US 2010)
  • Chapter 29. Said with flowers – bread and tulips (Pane e tulipani, I, CH 2000)

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