Show Summary Details
- Title Pages
- Frontispiece
- Dedication
- Acknowledgments
- Introduction
- Chapter 1 The Genius of Genre and the Ingenuity of Women
- Chapter 2 No Fixed Address
- Chapter 3 Circulating Emotion
- Chapter 4 100% Pure Adrenaline
- Chapter 5 Troubling Genre/Reconstructing Gender
- Chapter 6 Bodies and Genres in Transition
- Chapter 7 Private Femininity, Public Femininity
- Chapter 8 Generic Gleaning
- Chapter 9 It’s a Mann’s World?
- Chapter 10 Up Close and Personal
- Chapter 11 Gender Hyperbole and the Uncanny in the Horror Film
- Chapter 12 Emotion, Subjectivity, and the Limits of Desire
- Chapter 13 Woman, Generic Aesthetics, and the Vernacular
- Chapter 14 Homoeroticism Contained
- Chapter 15 Trash Comes Home
- Chapter 16 <i>Femme Fatale</i> or Lesbian Femme
- Chapter 17“The Gay Cowboy Movie”
- Bibliography
- Contributors
- Index
- Production Credits
(p.257) Contributors
(p.257) Contributors
- Source:
- Gender Meets Genre in Postwar Cinemas
- Publisher:
- University of Illinois Press
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- Title Pages
- Frontispiece
- Dedication
- Acknowledgments
- Introduction
- Chapter 1 The Genius of Genre and the Ingenuity of Women
- Chapter 2 No Fixed Address
- Chapter 3 Circulating Emotion
- Chapter 4 100% Pure Adrenaline
- Chapter 5 Troubling Genre/Reconstructing Gender
- Chapter 6 Bodies and Genres in Transition
- Chapter 7 Private Femininity, Public Femininity
- Chapter 8 Generic Gleaning
- Chapter 9 It’s a Mann’s World?
- Chapter 10 Up Close and Personal
- Chapter 11 Gender Hyperbole and the Uncanny in the Horror Film
- Chapter 12 Emotion, Subjectivity, and the Limits of Desire
- Chapter 13 Woman, Generic Aesthetics, and the Vernacular
- Chapter 14 Homoeroticism Contained
- Chapter 15 Trash Comes Home
- Chapter 16 <i>Femme Fatale</i> or Lesbian Femme
- Chapter 17“The Gay Cowboy Movie”
- Bibliography
- Contributors
- Index
- Production Credits