Femmes Fatales of the 1950s


Book Description

Look out! Here come sixty sultry femmes fatales captured at their most alluring by world famous photographer Bunny Yeager. Each image was hand-picked by Yeager herself from her vast photo archives of seductive, flirtatious, beautiful women. These images are sure to hold every reader's attention and heighten an appreciation for the artistry portrayed on every page. Photo locations range from the familiar and intimate to the wild and exotic, yet all the while maintaining a certain 1950s style and flair. Here are the girls you wished had lived next door, including actress Allison Hayes, ready to capture you with the very first glance.




Fabulous '40s and '50s Fashions for Femme Fatales of Film Noir Paper Dolls


Book Description

Artist and movie buff, David Wolfe, turns back the cinematic clock to the 1940s and 50s for a paper doll book dedicated to the glamorous and often lethal leading ladies of Film Noir. The dark and sinister movies popular after WWII starred tough guy anti-heroes who were always entangled with dangerous dames portrayed by stars like Lauren Bacall, Joan Bennett, Rita Hayworth and Barbara Stanwyck. This sophisticated new book presents four femme fatale paper dolls who look sexy and chic in dozens of fashions from films such as Double Indemnity, The Maltese Falcon and The Lady from Shanghai. Included are seductive gowns, smartly tailored suits, playwear with pizzazz and sensational accessories. An essay by David explains the Film Noir genre and its fascination with fabulous '40s and '50s fashions.




She Had to be Bad


Book Description

The femme fatale, who committed homicide, primarily for monetary gain, became the symbol of female criminality and evil. The representations of women in popular culture show criminals as antithetical to the image of female domesticity, and murderous crimes became an index for that departure. The act of committing a crime placed the perpetrator at odds with organized and lawful society. Not satisfied with simply living up to the expectations of her gender as wife and mother, the femme fatale does not disrupt contemporary expectations: she destroys. She is not different; she is deviant. This act of transgression, while against social codes, becomes sensationalized through mass media, creating a sense of pleasure through the fetishization of crime. The media obsession with killers, especially serial killers, is heightened when a woman commits homicide. The femme fatales who graced the covers of the hard-boiled fiction acted as both fantasy and nightmare to the predominately male-reading population.




Criminal Femmes Fatales in American Hardboiled Crime Fiction


Book Description

This book fills a gap in both literary and feminist scholarship by offering the first major study of femme fatales in hardboiled crime fiction. Maysaa Jaber shows that the criminal literary figures in the genre open up powerful spaces for imagining female agency in direct opposition to the constraining forces of patriarchy and misogyny.




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.




Bunny Yeager's Bikini Girls of the 1950s


Book Description

As the 1950s dawned, a new level of sexual openness developed in behavior and dress. In magazines and on beaches, women appeared in revealing two-piece bathing suits called bikinis. Bunny Yeager, model and commercial photographer, forged a unique role in 1952, photographing bikinis and the beautiful women who wore them. This collection of Bunny's work from the 1950s features 169 original photographs and featuring little known models and women she helped launch to fame, such as Betty Page. The bikinis they wore were often of Bunny's own creation, sewn with her own hands. She says, "My ability helped me sell photographs to men's magazines and compete with male photographers. They didn't know how to sew!" Many of her original designs still influence styles today. This collection of photographs, along with Bunny's reflections on her life and career, the models, and the era, make an insightful addition to the literature on this photographic pioneer.




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.




Vamps


Book Description

'A lavishly illustrated survey of screen sirens and bad girls.' - Booklist




The Girls in 3-B


Book Description

Three small-town girls move to the big city in this reissue of a classic 1950s pulp.




Dames in the Driver's Seat


Book Description

With its focus on dangerous, determined femmes fatales, hardboiled detectives, and crimes that almost-but-never-quite succeed, film noir has long been popular with moviegoers and film critics alike. Film noir was a staple of classical Hollywood filmmaking during the years 1941-1958 and has enjoyed a resurgence in popularity since the 1990s. Dames in the Driver's Seat offers new views of both classical-era and contemporary noirs through the lenses of gender, class, and race. Jans Wager analyzes how changes in film noir's representation of women's and men's roles, class status, and racial identities mirror changes in a culture that is now often referred to as postmodern and postfeminist. Following introductory chapters that establish the theoretical basis of her arguments, Wager engages in close readings of the classic noirs The Killers, Out of the Past, and Kiss Me Deadly and the contemporary noirs L. A. Confidential, Mulholland Falls, Fight Club, Twilight, Fargo, and Jackie Brown. Wager divides recent films into retro-noirs (made in the present, but set in the 1940s and 1950s) and neo-noirs (made and set in the present but referring to classic noir narratively or stylistically). Going beyond previous studies of noir, her perceptive readings of these films reveal that retro-noirs fulfill a reactionary social function, looking back nostalgically to outdated gender roles and racial relations, while neo-noirs often offer more revisionary representations of women, though not necessarily of people of color.