LEADER 04053oam 2200589zu 450 001 9910495884403321 005 20210803235808.0 010 $a0-520-35468-0 010 $a0-520-91032-X 010 $a0-585-28287-0 024 7 $a10.1525/9780520354685 035 $a(CKB)111004366704170 035 $a(SSID)ssj0000142823 035 $a(PQKBManifestationID)12045560 035 $a(PQKBTitleCode)TC0000142823 035 $a(PQKBWorkID)10111813 035 $a(PQKB)11712661 035 $a(DE-B1597)648509 035 $a(DE-B1597)9780520354685 035 $a(EXLCZ)99111004366704170 100 $a20160829d1991 uy 101 0 $aeng 135 $aur||||||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aEcho and Narcissus : women's voices in classical Hollywood cinema 210 31$a[Place of publication not identified]$cUniversity of California Press$d1991 215 $a1 online resource (218 p.) 300 $aBibliographic Level Mode of Issuance: Monograph 311 $a0-520-07082-8 311 $a0-520-07071-2 327 $tFrontmatter -- $tContents -- $tAcknowledgments -- $tIntroduction -- $t1: The Pleasures of Echo: The "Problem" of the Speaking Woman -- $t2: Constructing a Woman's Speech: Words and Images "Miss Thompson" (1921), Rain (1921), Sadie Thompson (1928) -- $t3: Constructing a Woman's Speech: Sound Film Rain (1932) -- $t4: The Problem of the Speaking Woman The Spiral Staircase (1946), Blackmail (1929), Notorious (1946), Sorry, Wrong Number (1948) -- $t5: Recuperating Women's Speech Miss Sadie Thompson (1953), Sunset Boulevard (1950) -- $t6: Woman and the Authorial Voice: Disembodied Desire To Kill a Mockingbird (1962) -- $tNotes -- $tReferences -- $tFiimography -- $tIndex 330 $aDo women in classical Hollywood cinema ever truly speak for themselves? In Echo and Narcissus, Amy Lawrence examines eight classic films to show how women's speech is repeatedly constructed as a "problem," an affront to male authority. This book expands feminist studies of the representation of women in film, enabling us to see individual films in new ways, and to ask new questions of other films.Using Sadie Thompson (1928), Blackmail (1929), Rain (1932), The Spiral Staircase, Sorry,Wrong Number, Notorious, Sunset Boulevard (1950) and To Kill a Mockingbird (1962), Lawrence illustrates how women's voices are positioned within narratives that require their submission to patriarchal roles and how their attempts to speak provoke increasingly severe repression. She also shows how women's natural ability to speak is interrupted, made difficult, or conditioned to a suffocating degree by sound technology itself. Telephones, phonographs, voice-overs, and dubbing are foregrounded, called upon to silence women and to restore the primacy of the image.Unlike the usage of "voice" by feminist and literary critics to discuss broad issues of authorship and point of view, in film studies the physical voice itself is a primary focus. Echo and Narcissus shows how assumptions about the "deficiencies" of women's voices and speech are embedded in sound's history, technology, uses, and marketing. Moreover, the construction of the woman's voice is inserted into the ideologically loaded cinematic and narrative conventions governing the representation of women in Hollywood film. 531 $aECHO & NARCISSUS 606 $aWomen in motion pictures$xHistory$zCalifornia$zLos Angeles 606 $aSex role in motion pictures 606 $aMotion pictures 606 $aMusic, Dance, Drama & Film$2HILCC 606 $aFilm$2HILCC 615 0$aWomen in motion pictures$xHistory 615 0$aSex role in motion pictures 615 0$aMotion pictures 615 7$aMusic, Dance, Drama & Film 615 7$aFilm 676 $a791.43/652042 700 $aLawrence$b Amy$01233726 801 0$bPQKB 906 $aBOOK 912 $a9910495884403321 996 $aEcho and Narcissus : women's voices in classical Hollywood cinema$92865536 997 $aUNINA