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Gender Meets Genre in Postwar Cinemas$
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Christine Gledhill

Print publication date: 2012

Print ISBN-13: 9780252036613

Published to Illinois Scholarship Online: April 2017

DOI: 10.5406/illinois/9780252036613.001.0001

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PRINTED FROM ILLINOIS SCHOLARSHIP ONLINE (www.illinois.universitypressscholarship.com). (c) Copyright Illinois University Press, 2017. All Rights Reserved. Under the terms of the licence agreement, an individual user may print out a PDF of a single chapter of a monograph in ISO for personal use (for details see http://www.universitypressscholarship.com/page/privacy-policy).date: 23 November 2017

Trash Comes Home

Trash Comes Home

Gender/Genre Subversion in the Films of John Waters

Chapter:
(p.205) Chapter 15 Trash Comes Home
Source:
Gender Meets Genre in Postwar Cinemas
Author(s):

Derek Kane-Meddock

Publisher:
University of Illinois Press
DOI:10.5406/illinois/9780252036613.003.0015

This chapter demonstrates the structural link between gender and genre in John Waters' work by examining three of the director's films: Pink Flamingos (1972), representing his early career; Polyester (1981), which marks his transition to Hollywood; and Serial Mom (1994), a movie from what has been called Waters' “safe and formulaic” period. Despite their stylistic and thematic differences, these three movies each expose the inconsistencies inherent in gendered and generic representation. The theory of disidentification offers an explanatory link between the director's resistance to the rules of both gender and genre. Disidentification is defined as a response to the failure of dominant forms of representation to include unconventional perspective.

Keywords:   John Waters, gender, genre, Polyester, Pink Flamingos, Serial Mom, disidentification

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