LEADER 03957nam 2200625 a 450 001 9910777675603321 005 20230617042040.0 010 $a0-292-79703-6 024 7 $a10.7560/706491 035 $a(CKB)1000000000456573 035 $a(OCoLC)191818299 035 $a(CaPaEBR)ebrary10194799 035 $a(SSID)ssj0000157855 035 $a(PQKBManifestationID)11161537 035 $a(PQKBTitleCode)TC0000157855 035 $a(PQKBWorkID)10140271 035 $a(PQKB)10158167 035 $a(MiAaPQ)EBC3443121 035 $a(OCoLC)61500784 035 $a(MdBmJHUP)muse2061 035 $a(Au-PeEL)EBL3443121 035 $a(CaPaEBR)ebr10194799 035 $a(DE-B1597)588369 035 $a(OCoLC)1286806136 035 $a(DE-B1597)9780292797031 035 $a(EXLCZ)991000000000456573 100 $a20041019d2005 ub 0 101 0 $aeng 135 $aurcn||||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aFraming female lawyers$b[electronic resource] $ewomen on trial in film /$fCynthia Lucia 205 $a1st ed. 210 $aAustin $cUniversity of Texas Press$d2005 215 $a1 online resource (284 p.) 300 $aBibliographic Level Mode of Issuance: Monograph 311 $a0-292-70649-9 320 $aFilmography: p. [249]-250. 320 $aIncludes bibliographical references (p. [251]-256) and index. 327 $tFrontmatter -- $tCONTENTS -- $tACKNOWLEDGMENTS -- $tINTRODUCTION -- $tCHAPTER 1 The Law Is the Law -- $tAPTER 2 Father Knows Best -- $tCHAPTER 3 Female Lawyers and the Maternal -- $tCHAPTER 4 A Question of Genre -- $tCHAPTER 5 Female Power and Masculine Crisis -- $tCHAPTER 6 Genre, Gender, and Law -- $tCHAPTER 7 Feminist Address and Spectatorship in The Accused, Love Crimes, and Female Perversions -- $tCONCLUSION. Female Lawyers in the Twenty-First Century -- $tNOTES -- $tFILMOGRAPHY -- $tBIBLIOGRAPHY -- $tINDEX 330 $aAs real women increasingly entered the professions from the 1970s onward, their cinematic counterparts followed suit. Women lawyers, in particular, were the protagonists of many Hollywood films of the Reagan-Bush era, serving as a kind of shorthand reference any time a script needed a powerful career woman. Yet a close viewing of these films reveals contradictions and anxieties that belie the films' apparent acceptance of women's professional roles. In film after film, the woman lawyer herself effectively ends up "on trial" for violating norms of femininity and patriarchal authority. In this book, Cynthia Lucia offers a sustained analysis of women lawyer films as a genre and as a site where other genres including film noir, maternal melodrama, thrillers, action romance, and romantic comedy intersect. She traces Hollywood representations of female lawyers through close readings of films from the 1949 Adam's Rib through films of the 1980s and 1990s, including Jagged Edge, The Accused, and The Client, among others. She also examines several key male lawyer films and two independent films, Lizzie Borden's Love Crimes and Susan Streitfeld's Female Perversions. Lucia convincingly demonstrates that making movies about women lawyers and the law provides unusually fertile ground for exploring patriarchy in crisis. This, she argues, is the cultural stimulus that prompts filmmakers to create stories about powerful women that simultaneously question and undermine women's right to wield authority. 606 $aWomen lawyers in motion pictures 606 $aJustice, Administration of, in motion pictures 615 0$aWomen lawyers in motion pictures. 615 0$aJustice, Administration of, in motion pictures. 676 $a791.43/6554 700 $aLucia$b Cynthia A. Barto$g(Cynthia Anne Barto)$01120938 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910777675603321 996 $aFraming female lawyers$93810983 997 $aUNINA