By Suzanne Ferriss
From An Affair to recollect to Legally Blonde, "chick flicks" have lengthy been either championed and vilified via men and women, students and well known audiences. Like other kinds of "chick culture," which the editors outline as a gaggle of regularly American and British pop culture media varieties targeted totally on twenty- to thirtysomething, middle-class—and usually college-educated—women, chick flicks were accused of reinscribing conventional attitudes and reactionary roles for ladies. nevertheless, they've been embraced as pleasant and possibly freeing entertainments, aiding ladies in negotiating the demanding situations of latest existence. A significant other to the profitable anthology Chick Lit: the hot Woman’s Fiction, this edited quantity comprises eleven unique essays, prefaced via an advent situating chick flicks in the greater context of chick tradition in addition to women’s cinema. The essays contemplate chick flicks from quite a few angles, bearing on problems with movie historical past, woman sexuality (heterosexual and homosexual), femininity, woman friendship, age, race, ethnicity, type, consumerism, spectatorship, excitement and gender definition. An afterword through feminist movie theorist Karen Hollinger considers the chick flick’s transformation from the woman’s movies of the ’40s to the friendship movies of the ’80s and people of the "return to the classics" development of the ’90s, whereas highlighting the worth of the volume’s contributions to modern debates and sketching probabilities for additional research.
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Extra info for Chick Flicks: Contemporary Women at the Movies
24 Suzanne Ferriss and Mallory Young Fricke, Erika. ” Bitch: Feminist Response to Pop Culture 32 (Summer 2006): 62–67. Gabbard, Krin. Black Magic: White Hollywood and African American Culture. New Brunswick, NJ: Rutgers University Press, 2004. ” The Chronicle of Higher Education, Feb. 17, 2006. htm>. Gaines, Jane. ” Heresies 18 (1986): 42–47. ” Quarterly Review of Film and Video 11 (1989): 35–60. Harvey, James. Romantic Comedy in Hollywood, from Lubitsch to Sturges. 1987. New York: Da Capo, 1998.
Further, in these battles, the women often capitulated to male anxiety over their careers and independence—but not always. Many had the same gutsy sense of female rebellion that occurs in the best chick ﬂicks, such as When Harry Met Sally (1989), Sleepless in Seattle (1993), Bridget Jones’s Diary (2001), Le Fabuleux destin d’Amélie Poulain (2001), Brown Sugar (2002), Love Actually (2003), and Lost in Translation (2003). Addressing, then, the division of male and female genres, one ﬁnds the differences are not just ones of subject matter or focus, but rather whether conﬂicts are explored for their internal ramiﬁcations and resonances or acted out externally.
6 See Henry. 7 This term is put forward by Chris Holmlund in the October 2005 issue of Cinema Journal. ” Cris Mazza, by contrast, presents a compelling view of postfeminism as the next phase of feminism, a phase in which women no longer see themselves as victims of patriarchy, blaming and harboring anger towards men. Rather, postfeminist women accept responsibility for their choices and their lives. For further discussion of postfeminism see Baumgardner and Richards, Dicker and Piepmeir, Henry, Modleski, Roiphe, RoweFinkbeiner, Walker, and Wolf.