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101 0 $aeng
135   $aur|n|---|||||
181   $ctxt
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183   $acr
200 10$aNeo-feminist cinema $egirly films, chick flicks and consumer culture /$fHilary Radner
210  1$aNew York :$cRoutledge,$d2011.
215   $a1 online resource (442 p.)
300   $aDescription based upon print version of record.
311   $a0-415-87774-1 
311   $a0-415-87773-3 
320   $aIncludes bibliographical references and index.
327   $aContents; Figures; Acknowledgments; Introduction; Chapter 1 Neo-Feminism and the Rise of the Single Girl; Chapter 2 Pretty Woman (1990) and the Girly Film; Chapter 3 Romy and Michele's High School Reunion (1997); Chapter 4 Legally Blonde (2001); Chapter 5 Jennifer Lopez; Chapter 6 Maid in Manhattan (2002); Chapter 7 Hit Movies for "Femmes" Chick Flicks and Chick Lit; Indie Films for the Female Demo: My Big Fat Greek Wedding (Joel Zwick, 2002) and Mamma Mia! (Phyllida Lloyd, 2008); Chapter 8 The Devil Wears Prada (2006); Chapter 9 Sex and the City: The Movie (2008)
327   $aChapter 10 Something's Gotta Give (2003)Conclusion; Notes; Index
330   $aWhat lies behind current feminist discontent with contemporary cinema? Through a combination of cultural and industry analysis, Hilary Radner's Neo-Feminist Cinema: Girly Films, Chick Flicks and Consumer Culture shows how the needs of conglomerate Hollywood have encouraged an emphasis on consumer culture within films made for women. By exploring a number of representative ""girly films,"" including Pretty Woman, Legally Blonde, Maid in Manhattan, The Devil Wears Prada, and Sex and the City: The Movie, Radner proposes that rather than being ""post-feminist,"
606   $aFeminism and motion pictures
606   $aMotion pictures for women$zUnited States
606   $aWomen in motion pictures
615  0$aFeminism and motion pictures.
615  0$aMotion pictures for women
615  0$aWomen in motion pictures.
676   $a791.43/6522
676   $a791.43082
700   $aRadner$b Hilary.$0551381
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801  1$bMiAaPQ
801  2$bMiAaPQ
906   $aBOOK
912   $a9910791881103321
996   $aNeo-feminist cinema$93706624
997   $aUNINA