Ann Vickers


Book Description




Women, Film, and Law


Book Description

Entertainment and profit constitute the driving force behind popular representations of women in correctional facilities. But the creative influence of film and television also generates legal meaning. The women-in-prison (WIP) genre can leave viewers feeling both empathetic toward the women portrayed in these representations and troubled about the crimes for which they have been convicted. Focusing on five exemplary WIP films and a television series – Ann Vickers, Caged, Caged Heat, Stranger Inside, Civil Brand, and Orange Is the New Black – Women, Film, and Law asks how fictional representations explore, shape, and refine beliefs about women who are incarcerated. From melodrama to exploitation, and from theatre screenings to on-demand film, television programs, and music videos, these texts bring into view the legal, economic, and political structures that criminalize women differently from men, and that target those women who are already marginalized. Women, Film, and Law convincingly argues that popular depictions of women’s imprisonment can illuminate the multiple forms of social exclusion and oppression experienced by criminalized women.




The Devil's Lane


Book Description

When Europeans settled in the early South, they quarreled over many things--but few imbroglios were so fierce as battles over land. Landowners wrangled bitterly over boundaries with neighbors and contested areas became known as "the devil's lane." Violence and bloodshed were but some of the consequences to befall those who ventured into these disputed territories. The Devil's Lane highlights important new work on sexuality, race, and gender in the South from the seventeenth- to the nineteenth-centuries. Contributors explore legal history by examining race, crime and punishment, sex across the color line, and slander. Emerging stars and established scholars such as Peter Wood and Carol Berkin weave together the fascinating story of competing agendas and clashing cultures on the southern frontier. One chapter focuses on a community's resistance to a hermaphrodite, where the town court conducted a series of "examinations" to determine the individual's gender. Other pieces address topics ranging from resistance to sexual exploitation on the part of slave women to spousal murders, from interpreting women's expressions of religious ecstasy to a pastor's sermons about depraved sinners and graphic depictions of carnage, all in the name of "exposing" evil, and from a case of infanticide to the practice of state-mandated castration. Several of the authors pay close attention to the social and personal dynamics of interracial women's networks and relationships across place and time. The Devil's Lane illuminates early forms of sexual oppression, inviting comparative questions about authority and violence, social attitudes and sexual tensions, the impact of slavery as well as the twisted course of race relations among blacks, whites, and Indians. Several scholars look particularly at the Gulf South, myopically neglected in traditional literature, and an outstanding feature of this collection. These eighteen original essays reveal why the intersection of sex and race marks an essential point of departure for understanding southern social relations, and a turning point for the field of colonial history. The rich, varied and distinctive experiences showcased in The Devil's Lane provides an extraordinary opportunity for readers interested in women's history, African American history, southern history, and especially colonial history to explore a wide range of exciting issues.




The Revised Reports


Book Description




Hollywood Censored


Book Description

After a series of sex scandals rocked the film industry in 1922, movie moguls hired Will Hays to clear the image of movies. Hays tried a variety of ways to regulate movies before adopting what became known as the production code. Written in 1930 by a St Louis priest, the code stipulated that movies stress proper behaviour, respect for government, and 'Christian values'. The Catholic Church reinforced these efforts by launching its Legion of Decency in 1934. Intended to force Hays and Hollywood to censor films, the Legion of Decency engineered the appointment of Joseph Breen as head of the Production Code Administration. For the next three decades, Breen, Hays, and the Catholic Legion of Decency virtually controlled the content of all Hollywood films.




Child Brides and Intruders


Book Description

Examines two distinct types of American literary heroines that are seen to develop from the romantic innocence of child brides. Either the child turns vacuous and becomes an insatiable monster; or else a strong personality takes over, which can only be thought of as an external intruder. Considers works from Nathaniel Hawthorne to Gail Godwin. No index. Paper edition (unseen), $19.95. Annotation copyright by Book News, Inc., Portland, OR










The Revised Reports


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Abortion in the American Imagination


Book Description

The public debate on abortion stretches back much further than Roe v. Wade, to long before the terms “pro-choice” and “pro-life” were ever invented. Yet the ways Americans discussed abortion in the early decades of the twentieth century had little in common with our now-entrenched debates about personal responsibility and individual autonomy. Abortion in the American Imagination returns to the moment when American writers first dared to broach the controversial subject of abortion. What was once a topic avoided by polite society, only discussed in vague euphemisms behind closed doors, suddenly became open to vigorous public debate as it was represented everywhere from sensationalistic melodramas to treatises on social reform. Literary scholar and cultural historian Karen Weingarten shows how these discussions were remarkably fluid and far-ranging, touching upon issues of eugenics, economics, race, and gender roles. Weingarten traces the discourses on abortion across a wide array of media, putting fiction by canonical writers like William Faulkner, Edith Wharton, and Langston Hughes into conversation with the era’s films, newspaper articles, and activist rhetoric. By doing so, she exposes not only the ways that public perceptions of abortion changed over the course of the twentieth century, but also the ways in which these abortion debates shaped our very sense of what it means to be an American.