Femmes Fatales


Book Description

In this work of feminist film criticism, Mary Ann Doane examines questions of sexual difference and knowledge in cinematic, theoretical, and psychoanalytic discourses. "Femmes Fatales" examines Freud, the female spectator, the meaning of the close-up, and the nature of stardom. Doane's analyses of such figures as Pabst's Lulu and Rita Hayworth's Gilda trace the thematics and mechanics of maskes, masquerade, and veiling, with specific attention to the form and technology of the cinema. Working through and against the intellectual frameworks of post-structuralist and psychoanalytic theory, Doane interrogates cinematic and theoretical claims to truth about women which rely on judgements about vision and its stability or instability. Reflecting the shift in conceptual priorities within feminist film theory over the last decade, "Femmes Fatales" addresses debates over female spectatorhsip, essentialism and anti-essentialism, the tensions between psychoanalysis and history, and the relations between racial and sexual difference. Doane's nuanced and original readings of the "femme fatale" in cinema illustrate confrontations between feminism, film theory and psychoanalysis. This book should be of interest to students and lecturers in women's studies, communications studies and film theory.




Iron Man: Femmes Fatales


Book Description

When the anti-terror organization S.H.I.E.L.D. asks for his help in battling the forces of HYDRA, millionaire industrialist Tony Stark, a.k.a. Iron Man, falls victim to the schemes of two women who discover his fatal flaw.




Femmes Fatales


Book Description

In this work of feminist film criticism, Mary Ann Doane examines questions of sexual difference and knowledge in cinematic, theoretical, and psychoanalytic discourses. "Femmes Fatales" examines Freud, the female spectator, the meaning of the close-up, and the nature of stardom. Doane's analyses of such figures as Pabst's Lulu and Rita Hayworth's Gilda trace the thematics and mechanics of maskes, masquerade, and veiling, with specific attention to the form and technology of the cinema. Working through and against the intellectual frameworks of post-structuralist and psychoanalytic theory, Doane interrogates cinematic and theoretical claims to truth about women which rely on judgements about vision and its stability or instability. Reflecting the shift in conceptual priorities within feminist film theory over the last decade, "Femmes Fatales" addresses debates over female spectatorhsip, essentialism and anti-essentialism, the tensions between psychoanalysis and history, and the relations between racial and sexual difference. Doane's nuanced and original readings of the "femme fatale" in cinema illustrate confrontations between feminism, film theory and psychoanalysis. This book should be of interest to students and lecturers in women's studies, communications studies and film theory.




By Cécile


Book Description

A coming of age novel set in post-war France by an author who “launched the modern genre of the lesbian paperback” (Susan Stryker, author of Queer Pulp). When eighteen-year-old Cécile is orphaned at the end of World War II, the curious and adventurous Catholic student finds refuge in Paris, and with an older man. A former member of the Resistance with Cécile’s parents, Maurice is handsome, a thrilling cultured patron of the arts, and a mentor eager to introduce the budding young author to his intimate circle of friends—Cocteau, Sartre, and Eartha Kitt! As liberating an influence as he is, Maurice also encourages Cécile to shed her inhibitions he sees as bourgeois. Possessing a sensual and passionate temperament, Cécile is eager to begin exploring—by sharing Maurice’s mistress, and writing of every life-changing and delightfully scandalous new experience. Credited with penning the first, candidly lesbian novel—Women’s Barracks, in 1950—Tereska Torrès “scandalized mid-century America” (The New York Times). In By Cécile, written in 1963, “Madame Torres has re-imagined a youthful Colette (here called Cécile) in the infinitely seductive post-World War II period in Paris, where she moves like a sleeping princess through the perverse fairy tales of man-made cafe society. [It’s] a sharply perceptive novel” (Joan Schenkar, author of The Talented Miss Highsmith).




Dangerous Women


Book Description

A selection of sixty powerfully seductive women, from Biblical times to the present day, featuring mythical and real heroines. The most memorable stories throughout history feature a powerful, seductive woman who has an irresistible hold over the man in her life. The alluring Cleopatra, like Helen of Troy, inspired lovers to the battlefield in a brave display of loyalty. Eve and Pandora wreacked havoc when they tempted men to defy the laws of the day. Traitorous Dalila brought the all-powerful Samson to his knees as she divested him of his magical mane. Lovesick Juliet and Hamlet’s Ophelia chose death over life in a courageous display of honor to their forbidden passion. The enchanting Scheherazade of One Thousand and One Nights saved herself from certain death through her exceptional capacity for storytelling. Each of these women was brave and steadfast, and their stories have inspired artists throughout the history of art. In this gallery of femmes fatales, feminist historian Laure Adler guides us through the ages to rediscover incredible heroines. Their stories are illustrated with iconic works by masters such as da Vinci, Michelangelo, Botticelli, Rubens, Goya, Sargent, Picasso, Dali, Warhol, Saint Phalle, and Tracey Emin.




The Femme Fatale in American Literature


Book Description

Characters in the literary tradition of American naturalism are usually perceived as passive, lacking in will, weak, and predetermined. They are constantly seen as the victims of heredity and environment, and their lives are shaped according to these strong forces that operate upon them. This interesting book examines the representation of female characters in American naturalism and argues that women in American naturalism are often represented as femmes fatales. Since heredity and environment are the determining factors in their lives, they are victims who have no control. However, with characters such as Trina Sieppe in Frank Norris's McTeague, Caroline Meeber in Theodore Dreiser's Sister Carrie, Edna Pontellier in Kate Chopin's The Awakening, and Helga Crane in Nella Larsen's Quicksand, these women victims gradually turn themselves into victimizers in order to conquer both heredity and environment. They consciously and deliberately use the only power they have that can help them overcome the naturalistic world in which they are entrapped--the power of the feminine. The book explains who exactly the femme fatale that has been born out of American naturalism is, and explores images of women in American realism who precede the femme fatale of American naturalism. This study examines characters like Trina Sieppe, Caroline Meeber, Edna Pontellier, and Helga Crane. It analyzes these women's backgrounds, their demeanors, their temperaments, their experiences, and their settings, and explains how and when each woman decides to use her sexuality. There is also a brief discussion of other femmes fatales in American naturalism, such as Stephen Crane's Maggie: A Girl of the Streets. Although the perception of women in nineteenth-century American literature has always had its place in discussions of literary texts, this book is unique in its argument that women in American naturalism are neither weak nor passive, but rather are strong and daring women who try diligently to find a means of fighting back. This book is an important addition to collections in literature and Women's studies.




The Femme Fatale in Victorian Literature


Book Description

"examines the changing social and economic status of women from the 1860s through the 1880s, and rejects the stereotypical mid-Victorian femme fatale portrayed by conservative ideologues critiquing popular fiction by Wilkie Collins, Mary Elizabeth Braddon, Honore de Balzac, and William Makepeace Thackeray. In these book reviews, the female protagonist is simply minimized to a dangerous woman. Refuting this one-dimensional characterization, this book argues that the femme fatale comes to represent the real-life struggles of the middle-class Victorian woman who overcomes major adversities such as poverty, abusive husbands, abandonment, single parenthood, limited job opportunities, the criminal underworld, and Victorian society's harsh invective against her." --publisher description.




Women's Barracks


Book Description

First Digital Edition; Grier Rating: A*** This is the true-life story of what happens when scores of young girls live intimately together in a French military barracks. Many of these girls, utterly innocent and inexperienced, meet other women who have lived every type of existence. Their problems, their temptations, their fights and failures are those faced by all women who are forced to live together during dangerous and stressful times. The girls who chose Tereska Torres, the author, as their confidante poured out to her their most intimate feelings, their secret thoughts. With all of its revelations and tenderness, Women’s Barracks is an important book because it tells a story that had never been truly told before--the story of women in war. It also has the special distinction of being the first “lesbian pulp” novel ever published and became a record-breaking bestseller. This autobiographical novel takes place in London, England during World War II. The terror of the V-1 and V-2 rocket bombings, and the resulting fires and destruction, are an unknown experience to most readers. The women enduring these events were not even 20 years old when they first arrived. Many volunteered to be there. They were French, or of French heritage, and wanted to be part of the effort to help protect France from invasion by the Nazis. Throughout it all, passions flare, long-standing taboos are tossed to the wind, and passionate relationships are begun between older, more experienced butch officers and the young, inexperienced femme girls under their charge. In her telling of these women’s stories, Torres remains nonjudgmental of the lesbian relationships these women explored. Perhaps as a result, Women’s Barracks was banned in several states for being obscene. The House Select Committee on Current Pornographic Materials denounced the book in 1952 as an illustration of how the newly emerging paperback industry was breeding and promoting moral depravity. By today’s standards, of course, the book is somewhat tame; however, the eroticism and honesty with which Torres writes immerses the reader in the love, tenderness, loyalty and passion that women share with each other.




Skyscraper


Book Description

Lynn is an ambitious young woman who loves her job in the gleaming new Manhattan skyscraper. Soon, Lynn also loves Tom, the young clerk down the hall. They are so in love that if they don’t get married, something improper is bound to happen. But her company has a strict new policy: Any woman who marries will be immediately fired. First published in 1931—the same year the Empire State Building opened its doors—Skyscraper marks the advent of a new kind of romance plot, and Lynn a new kind of heroine. Lynn is facing choices that will determine the course of the rest of her life, but rather than just choose between suitors, Lynn and other working girls like her must decide whether to abandon their careers—or abandon their men. They can’t have both—or can they? Femmes Fatales restores to print the best of women’s writing in the classic pulp genres of the mid-20th century. From mystery to hard-boiled noir to taboo lesbian romance, these rediscovered queens of pulp offer subversive perspectives on a turbulent era. Enjoy the series: Bedelia; Bunny Lake Is Missing; By Cecile; The G-String Murders; The Girls in 3-B; Laura; The Man Who Loved His Wife; Mother Finds a Body; Now, Voyager; Return to Lesbos; Skyscraper; Stranger on Lesbos; Stella Dallas; Women's Barracks.




The Femme Fatale: Images, Histories, Contexts


Book Description

These essays trace the femme fatale across literature, visual culture and cinema, exploring the ways in which fatal femininity has been imagined in different cultural contexts and historical epochs, and moving from mythical women such as Eve, Medusa and the Sirens via historical figures such as Mata Hari to fatal women in contemporary cinema.