THE REPRESENTA Non of WOMEN WHO KILL in CONTEMPORARY HOLLYWOOD FILMS

Total Page:16

File Type:pdf, Size:1020Kb

THE REPRESENTA Non of WOMEN WHO KILL in CONTEMPORARY HOLLYWOOD FILMS SIGNS OF TRANSGRESSION: THE REPRESENTA nON OF WOMEN WHO KILL IN CONTEMPORARY HOLLYWOOD FILMS Isabelle Doyle Thesis submitted for the degree of PhD Department of English Literature September 1998 CONTENTS Introduction Signs of Transgression p. 1 Chapter One "Kill the Bitch!": Women and Crime p. 10 Chapter Two "Where Did You Learn To Shoot Like That?" Thelma and Louise and the Rise of the Female Criminal p.64 Chapter Three The Spectre of the Other Woman: Single White Female and Lethal Femininity p. 116 Chapter Four "Blow-jobs and Homemade Lasagne": The Role of the Wife in The Hand that Rocks the Cradle p. 169 Chapter Five " ... And Woman Inherits the Earth!": Sex, Gender and Reproduction in Jurassic Park p.220 Conclusion p.270 Bibliography p.275 Filmography p.284 LIST OF ILLUSTRATIONS Figure 1: 'Smiling face of student's "wicked" killer' . p.30 Figure 2: 'Kinky killer'. p. 31 Figure 3: 'Road rage attack that never was'. p. 34 Figure 4: 'Mad, Bad and Dangerous to Know'. p.35 Figure 5: 'Women killers'. p.38 Figure 6: Marcus Harvey's 'Myra'. p. 41 ACKNOWLEDGMENTS I would like to thank the following: The British Academy for funding. Dr Sue Vice, for supervision beyond the norm. The Staff of the Department of English Literature, especially Dr Bryan Burns, for their support. Staff at University of Sheffield Library; Psalter Lane Library, Sheffield Hallam University; Sheffield City Central Library. Fellow post-graduates for encouragement and support, especially Annette Davison and the Hollywood Film team. All those who sent me newspaper cuttings, and those who lent me videos and books - especially James Rose, Ben Pinelli, Liz Quarty, Duncan Law, Tony Lowe, Ashley Barnes at Waters tones Bookshop, Helen Murdoch and Mariette Smit. Special thanks must go to: Paul Tyrer, for beer and sympathy; Marion Lamb, for being mad enough to offer; Louise, Nick and Jago Moore. for the rest. SIGNS OF TRANSGRESSION: THE REPRESENTATION OF WOMEN WHO KILL IN CONTEMPORARY HOLLYWOOD FILMS SUMMARY In my thesis I argue that the representation of women who kill is a construction of female identity that serves patriarchal ideology. Hollywood films are ideally suited for examining the contradictory representations of the violent, transgressive woman. My introduction establishes the link between the cultural ideals of womanhood and those systems of representation that denigrate women who do not conform. Chapter One, a discussion of the relationship between women and crime, is a exploration of the meaning of the 'transgressive woman', using instances of true crime, film and images from the media. I discuss how these representations support the view of women in patriarchal ideology, and why the existence of women who kill is seen as socially and morally disruptive. The following four chapters deal with one film in detail. Chapter Two reviews the reactions to Thelma and Louise (Ridley Scott, 1991) and discusses the film as potentially subversive in a male-identified genre closely associated with law­ breaking and criminality. Chapter Three on Single White Female (Barbet Schroeder, 1992) looks at the film in terms of its multifarious generic legacies. It . examines the two women characters as expressions of the problems of representing femininity in the genres of gothic and horror. Chapter Four looks at the role of the wife in recent Hollywood film. Using The Hand that Rocks the Cradle (Curtis Hanson, 1991), I examine the role of the wife as a figure who has the potential both to uphold and disrupt the nuclear family. Finally, Chapter Five is an analysis of Jurassic Park (Stephen Spielberg, 1993) that reveals that the film, while appearing to uphold family and paternal values, also provides a progressive and radical view of sex and gender. INTRODUCTION SIGNS OF TRANSGRESSION For everyone who watches Hollywood films, the 'woman as killer' is now such a recognizable figure that she can be found in every film genre. From femme fatale to action heroine, the figure of the killer woman can represent, on the one hand, the possibility of equality and progression, and alternately, a ratification of women's anti-social and threatening presence. She is therefore a useful figure of dissent, who can be used simultaneously to uphold and to destabilize current social values. My thesis is an analysis of the killer woman in recent Hollywood films as a representation of current social and cultural anxieties about the 'woman's role' and the 'woman's place'. How do these representations of women who kill inform and reflect recognised ideals of womanhood and femininity? How do they interact with contemporary social values? What makes the representation of the transgressive woman so meaningful in contemporary culture? I use the term 'transgressive' not simply as a useful all-encompassing term for female disorder, but also in the sense that it denotes the violation or infringement of rules and boundaries. The transgressive woman represents a suspect morality, a deviation away from the ideology of womanhood. The ideological processes that serve to inform us of women's position within culture also influence our recognition of such transgressions. These allow for a recognition of the horrors of anti-femininity: the witch, the lesbian, the prostitute, the femme fatale, the child­ killer. Such labels are not for the benefit of women, but serve to place women in 1 a negative position in terms of patriarchy. In other words, these labels show, primarily, women's relationship to men. Bill Nichols suggests that representations are useful points of reference that allow the individual to construct a coherent identification with social values: Ideology uses the fabrication of images and the processes of representation to persuade us that how things are is how they ought to be and that the place provided for us is the place we ought to have. 1 The ideological construction of the 'woman's place', however, tends to idealize some aspects of femininity while pathologizing others. The ideology that promotes the positive values of the essential nature of womanhood - nurturing, maternal and passive - at the same time warns of a dark side of dangerous, seductive sexual powers and a secretive and mysterious 'Otherness'. The femme fatale of film noir is a manifestation of deadly sexuality: the witch in popular mythology is an abject figure who threatens civilized folk with her mysterious powers. Figures of female transgression not only threaten to displace patriarchy but they typically do so in such a manner that their threatening natures can be applied to all women. Thus the tensions between the cultural ideals of femininity and the feared transgressive and antisocial properties that women are suspected to hold distorts the representation of the transgressive woman. For whom does she pose a threat? Yet, one person's transgressive figure may be another's feminist heroine. 'Re- reading the Bitches from Hell: A Feminist Appropriation of the Female Psychopath'3, the title (only slightly ironic) of a article in Screen, sums up exactly some of the dilemmas surrounding feminist critiques of transgressive figures. 2 Should we dismiss such figures as nothing more than misogynist representations of male paranoia, or should we attempt to rescue such figures from their texts, revealing some of their more positive elements? Diane Waldman, in discussing the problems of the concept of the 'positive image', argues that the recognition of both 'negative' and 'positive' images merely reiterates the problems of representation. 4 Recognition does not seek to establish the link between modes of representation and dominant ideological practices inherent in a capitalist, patriarchal, white- dominated culture. The theoretical position for feminism is, by definition, a reactive rather than proactive process, placing on top of the original meaning 'a further level of connotative reading'.s The ac+,ot'\ of appropriation implies that representations of women, whether transgressive or not, have a under~i~ meaning that can be separated from their modes of representation. When that mode of representation is Hollywood cinema, other complications arise. In Dykes to w~tdJ Out For, a collection of cartoons by Alison Bechdel, one particular cartoon sums up for me the problems facing all cinema-going women. 6 Two women are standing outside a cinema, which is decorated with posters for films called Rambo Meets Godzilla and The Vigilante, and one explains to"other /.. ~~ that she has three basic requirements for any film: (i) it must have at least two women in it, (ii) the two women must talk to each other, and (iii) the topic of conversation must be about something other than a man. Hence, the last film she saw was Alien. After looking at the films on offer, the two women decide to go home. This cartoon pre-dates Fatal Attraction (Adrian Lyne, 1987) and Black Widow (Bob Rafelson, 1987), which were both released the following year. Would these erstwhile filmgoers have greeted either film with enthusiasm? Given that both films - Black Widow more so than Fatal Attraction - match the criteria (which cannot be described as particularly stringent), can the Hollywood film 3 industry be seen as becoming more progressive and appealing to women? While the industry is supposed to provide popular entertainment, its products can often be remarkably unappealing: formulaic, uninspired, conformist, and repetitive. But simultaneously, certain films have the knack of tapping into the cultural psyche: Fatal Attraction is the most obvious example of the fear that transgressive women engender at the heart of patriarchal ideology. Can this film, or any film, tell us anything about the woman's place in patriarchy, or does it merely provide a certain cathartic pleasure in the destruction of the transgressive woman? Patriarchy, Adrienne Rich writes, is 'the power of the fathers', a universal system in which 'the female is subsumed under the male'.' Rich's analysis shows that the system is one which forces all women, whatever their class, race or sexuality, to live under male patronage, and with tacit male approval.
Recommended publications
  • L'équipe Des Scénaristes De Lost Comme Un Auteur Pluriel Ou Quelques Propositions Méthodologiques Pour Analyser L'auctorialité Des Séries Télévisées
    Lost in serial television authorship : l’équipe des scénaristes de Lost comme un auteur pluriel ou quelques propositions méthodologiques pour analyser l’auctorialité des séries télévisées Quentin Fischer To cite this version: Quentin Fischer. Lost in serial television authorship : l’équipe des scénaristes de Lost comme un auteur pluriel ou quelques propositions méthodologiques pour analyser l’auctorialité des séries télévisées. Sciences de l’Homme et Société. 2017. dumas-02368575 HAL Id: dumas-02368575 https://dumas.ccsd.cnrs.fr/dumas-02368575 Submitted on 18 Nov 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Distributed under a Creative Commons Attribution - NonCommercial - NoDerivatives| 4.0 International License UNIVERSITÉ RENNES 2 Master Recherche ELECTRA – CELLAM Lost in serial television authorship : L'équipe des scénaristes de Lost comme un auteur pluriel ou quelques propositions méthodologiques pour analyser l'auctorialité des séries télévisées Mémoire de Recherche Discipline : Littératures comparées Présenté et soutenu par Quentin FISCHER en septembre 2017 Directeurs de recherche : Jean Cléder et Charline Pluvinet 1 « Créer une série, c'est d'abord imaginer son histoire, se réunir avec des auteurs, la coucher sur le papier. Puis accepter de lâcher prise, de la laisser vivre une deuxième vie.
    [Show full text]
  • (#) Indicates That This Book Is Available As Ebook Or E
    ADAMS, ELLERY 11.Indigo Dying 6. The Darling Dahlias and Books by the Bay Mystery 12.A Dilly of a Death the Eleven O'Clock 1. A Killer Plot* 13.Dead Man's Bones Lady 2. A Deadly Cliché 14.Bleeding Hearts 7. The Unlucky Clover 3. The Last Word 15.Spanish Dagger 8. The Poinsettia Puzzle 4. Written in Stone* 16.Nightshade 9. The Voodoo Lily 5. Poisoned Prose* 17.Wormwood 6. Lethal Letters* 18.Holly Blues ALEXANDER, TASHA 7. Writing All Wrongs* 19.Mourning Gloria Lady Emily Ashton Charmed Pie Shoppe 20.Cat's Claw 1. And Only to Deceive Mystery 21.Widow's Tears 2. A Poisoned Season* 1. Pies and Prejudice* 22.Death Come Quickly 3. A Fatal Waltz* 2. Peach Pies and Alibis* 23.Bittersweet 4. Tears of Pearl* 3. Pecan Pies and 24.Blood Orange 5. Dangerous to Know* Homicides* 25.The Mystery of the Lost 6. A Crimson Warning* 4. Lemon Pies and Little Cezanne* 7. Death in the Floating White Lies Cottage Tales of Beatrix City* 5. Breach of Crust* Potter 8. Behind the Shattered 1. The Tale of Hill Top Glass* ADDISON, ESME Farm 9. The Counterfeit Enchanted Bay Mystery 2. The Tale of Holly How Heiress* 1. A Spell of Trouble 3. The Tale of Cuckoo 10.The Adventuress Brow Wood 11.A Terrible Beauty ALAN, ISABELLA 4. The Tale of Hawthorn 12.Death in St. Petersburg Amish Quilt Shop House 1. Murder, Simply Stitched 5. The Tale of Briar Bank ALLAN, BARBARA 2. Murder, Plain and 6. The Tale of Applebeck Trash 'n' Treasures Simple Orchard Mystery 3.
    [Show full text]
  • WALLACE, (Richard Horatio) Edgar Geboren: Greenwich, Londen, 1 April 1875
    WALLACE, (Richard Horatio) Edgar Geboren: Greenwich, Londen, 1 april 1875. Overleden: Hollywood, USA, 10 februari 1932 Opleiding: St. Peter's School, Londen; kostschool, Camberwell, Londen, tot 12 jarige leeftijd. Carrière: Wallace was de onwettige zoon van een acteur, werd geadopteerd door een viskruier en ging op 12-jarige leeftijd van huis weg; werkte bij een drukkerij, in een schoen- winkel, rubberfabriek, als zeeman, stukadoor, melkbezorger, in Londen, 1886-1891; corres- pondent, Reuter's, Zuid Afrika, 1899-1902; correspondent, Zuid Afrika, London Daily Mail, 1900-1902 redacteur, Rand Daily News, Johannesburg, 1902-1903; keerde naar Londen terug: journalist, Daily Mail, 1903-1907 en Standard, 1910; redacteur paardenraces en later redacteur The Week-End, The Week-End Racing Supplement, 1910-1912; redacteur paardenraces en speciaal journalist, Evening News, 1910-1912; oprichter van de bladen voor paardenraces Bibury's Weekly en R.E. Walton's Weekly, redacteur, Ideas en The Story Journal, 1913; schrijver en later redacteur, Town Topics, 1913-1916; schreef regelmatig bijdragen voor de Birmingham Post, Thomson's Weekly News, Dundee; paardenraces columnist, The Star, 1927-1932, Daily Mail, 1930-1932; toneelcriticus, Morning Post, 1928; oprichter, The Bucks Mail, 1930; redacteur, Sunday News, 1931; voorzitter van de raad van directeuren en filmschrijver/regisseur, British Lion Film Corporation. Militaire dienst: Royal West Regiment, Engeland, 1893-1896; Medical Staff Corps, Zuid Afrika, 1896-1899; kocht zijn ontslag af in 1899; diende bij de Lincoln's Inn afdeling van de Special Constabulary en als speciaal ondervrager voor het War Office, gedurende de Eerste Wereldoorlog. Lid van: Press Club, Londen (voorzitter, 1923-1924). Familie: getrouwd met 1.
    [Show full text]
  • Copyright by Ashley N. Mack 2013
    Copyright by Ashley N. Mack 2013 The Dissertation Committee for Ashley N. Mack Certifies that this is the approved version of the following dissertation: DISCIPLINING MOMMY: RHETORICS OF REPRODUCTION IN CONTEMPORARY MATERNITY CULTURE Committee: Dana L. Cloud, Supervisor Joshua Gunn Barry Brummett Sharon J. Hardesty Christine Williams DISCIPLINING MOMMY: RHETORICS OF REPRODUCTION IN CONTEMPORARY MATERNITY CULTURE by Ashley N. Mack, B.A.; B.A.; M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin August, 2013 Dedication To Tiffany—for being an awesome lady, thinker, worker, “true” sister, daughter, and mother. Acknowledgements My family has something of a “curse”: Multiple generations of women have been single, working mothers. Therefore, the social pressures, expectations and norms of motherhood have always permeated my experiences of reproduction and labor. Everything I do has been built on the backs of the women in my family—so it is important that I thank them first and foremost. I would be remised if I did not also specifically thank my big sister, Tiffany, for sharing her experiences as a mother with me. Hearing her stories inspired me to look closer at rhetorics of maternity and this project would not exist if she were not brave enough to speak up about issues that produce shame and fear for many moms. Dana Cloud, my advisor, is a shining light at the end of the many dark tunnels that academic work can produce.
    [Show full text]
  • Conflict Between the Body and the Soul As a Metaphor of the Moral Struggle \U the Middle Ages, with Special Reference to Middle English Literature
    THE CONFLICT BETWEEN THE BODY AND THE SOUL AS A METAPHOR OF THE MORAL STRUGGLE \U THE MIDDLE AGES, WITH SPECIAL REFERENCE TO MIDDLE ENGLISH LITERATURE by JOHN ALLEN CANUTESON A DISSERTATION PRESENTED TO THE GRADUATE COUNCIL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 1975 ACKNOWLEDGMENTS I am indebted to many good friends who have helped during the research and v/riting of this study. To Dr. Richard Green, Chairman of my Supervisory Committee, and to Dr. Robert H. Bowers go my warm thanks for criticism and guidance. To Dr. Dean Dunham and Dean Bruce R. Thompson of IVilliam Jewell College go my thanks for patience, small classes, and immunity from committee assignments, and to Asso- ciate Dean Gordon Kingsley my appreciation for a winter term in which to work exclusively on the dissertation. The staffs of the University of Florida Library and William Jewell College Library have been dili- gent in finding and borrowing material from other libraries, and the University of Texas Library at Austin has been a friendly haven during holidays and vacations. Thanks also go to Miss Susan Goodwin for typing countless notecards and to Mrs. Julia Merrill for typing the final draft. My greatest debts are owed to my greatest loves — my wi f e and two sons. TABLE OF CONTENTS ACKNOWLEDGEMENTS ABSTRACT IV Chapter „ '^ . Page I THE CONFLICT BETWEEN THE BODY AND THE SOUL \H MEDIEVAL L I TERATURE , NOTES 54 I I THE IMAGES OF THE LATIN TRADITION 52 NOTES ,38 III THE IMAGES OF THE MIDDLE ENGLISH TRADITION AND THE DE- BATE BETWEEN THE BODY AND THE SOUL 7777777.
    [Show full text]
  • The Green Sheet and Opposition to American Motion Picture Classification in the 1960S
    The Green Sheet and Opposition to American Motion Picture Classification in the 1960s By Zachary Saltz University of Kansas, Copyright 2011 Submitted to the graduate degree program in Film and Media Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Master of Arts. ________________________________ Chairperson Dr. John Tibbetts ________________________________ Dr. Michael Baskett ________________________________ Dr. Chuck Berg Date Defended: 19 April 2011 ii The Thesis Committee for Zachary Saltz certifies that this is the approved version of the following thesis: The Green Sheet and Opposition to American Motion Picture Classification in the 1960s ________________________________ Chairperson Dr. John Tibbetts Date approved: 19 April 2011 iii ABSTRACT The Green Sheet was a bulletin created by the Film Estimate Board of National Organizations, and featured the composite movie ratings of its ten member organizations, largely Protestant and represented by women. Between 1933 and 1969, the Green Sheet was offered as a service to civic, educational, and religious centers informing patrons which motion pictures contained potentially offensive and prurient content for younger viewers and families. When the Motion Picture Association of America began underwriting its costs of publication, the Green Sheet was used as a bartering device by the film industry to root out municipal censorship boards and legislative bills mandating state classification measures. The Green Sheet underscored tensions between film industry executives such as Eric Johnston and Jack Valenti, movie theater owners, politicians, and patrons demanding more integrity in monitoring changing film content in the rapidly progressive era of the 1960s. Using a system of symbolic advisory ratings, the Green Sheet set an early precedent for the age-based types of ratings the motion picture industry would adopt in its own rating system of 1968.
    [Show full text]
  • Your Name Here
    PHENOMENAL BODIES, PHENOMENAL GIRLS: HOW YOUNG ADOLESCENT GIRLS EXPERIENCE BEING ENOUGH IN THEIR BODIES by HILARY ELIZABETH HUGHES (Under the Direction of Mark D. Vagle) ABSTRACT Drawing on philosophers (Ahmed, 2006; Fanon, 1986; Heidegger, 1927, 1962, 1992; Merleau-Ponty, 1962) and social science scholars (Dahlberg, Dahlberg, & Nystrom, 2008; Vagle, 2009, 2010, 2011; van Manen, 1990, 2000) for this phenomenological study, I asked what it was like for the seventh grade girls who participated with me in a year-long writing group to experience moments where they found themselves in bodily-not-enoughness: moments when someone or something was telling them they were not enough of something in their bodies. Using a multigenre magazine format for the dissertation, I describe how I learned—as an adult, a qualitative researcher, a middle grades teacher, and a teacher educator—from these seventh grade girls how to be-enough in my own body, by illustrating various moments when some of the girls seemed to talk-back-TO those societal messages telling them they were not pretty- enough, thin-enough, English-speaking-enough, white-enough, popular-enough, or smart-enough by embodying some kind of resistance-to those messages. I then suggest that if we as adults, qualitative researchers, middle grades educators, and teacher educators wish to try and understand better how female young adolescents of color experience living in their bodies, we should begin listening differently so that we can begin seeing/knowing/thinking the bodies of young adolescents,
    [Show full text]
  • One Plus One / Single White Female De Barbet Schroeder]
    Document généré le 30 sept. 2021 04:01 24 images One Plus One Single White Female de Barbet Schroeder Yves Rousseau Numéro 64, décembre 1992, janvier 1993 URI : https://id.erudit.org/iderudit/22625ac Aller au sommaire du numéro Éditeur(s) 24/30 I/S ISSN 0707-9389 (imprimé) 1923-5097 (numérique) Découvrir la revue Citer ce compte rendu Rousseau, Y. (1992). Compte rendu de [One Plus One / Single White Female de Barbet Schroeder]. 24 images, (64), 74–74. Tous droits réservés © 24 images inc., 1992 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ SINGLE WHITE FEMALE DE BARBET SCHROEDER À partir de là, le scénario enclenche sa mécanique jusqu'à l'apothéose finale. Le «thriller psychotique» est un sous-genre extrêmement balisé. Par une suite de glissements, de détails qui prennent leur sens par l'accumulation, le personnage qui était jusque-là irréprochable (il était cependant rrop parfait pour être honnête) est soudainement identifié comme une bombe à retardement vivante. Le spectateur peut alors jouir de sa terreur en toute sécurité puisqu'il a une longueur d'avance sur les autres personnages, les victimes potentielles (et nécessaires à la bonne marche du scénario).
    [Show full text]
  • A70 Pkit 4.Pdf
    PRESS KIT Antonio Lopez 1970: Sex Fashion & Disco A Film by James Crump Featuring: Jessica Lange, Grace Jones, Bob Colacello, Jerry Hall,Grace Coddington, Patti D’Arbanville, Karl Lagerfeld, Juan Ramos, Bill Cunningham, Jane Forth, Yves Saint Laurent, Donna Jordan, Paul Caranicas, Joan Juliet Buck, Corey Tippin and Michael Chow. Film soundtrack features music by: Donna Summer,Marvin Gaye, Evelyn “Champagne” King, Isaac Hayes,Curtis Mayfield, Chic and the Temptations. Summitridge Pictures and RSJC LLC present a film by James Crump. Edited by Nick Tamburri. Visual Effects by Andre Purwo. Cinematography by Robert O’Haire. Produced by James Crump and Ronnie Sassoon. Sex Fashion & Disco is a feature documentary-based time capsule concerning Paris and New York between 1969 and 1973 and viewed through the eyes of Antonio Lopez (1943-1987), the dominant fashion illustrator of the time, and told through the lives of his colorful and some-times outrageous milieu. A native of Puerto Rico and raised in The Bronx, Antonio was a seductive arbiter of style and glamour who, beginning in the 1960s, brought elements of the urban street and ethnicity to bear on a postwar fashion world desperate for change and diversity. Counted among Antonio’s discoveries— muses of the period—were unusual beauties such as Cathee Dahmen, Grace Jones, Pat Cleveland, Tina Chow, Jessica Lange, Jerry Hall and Warhol Superstars Donna Jordan, Jane Forth and Patti D’Arbanville among others. Antonio’s inner circle in New York during this period was also comprised of his personal and creative partner, Juan Ramos (1942-1995), also Puerto Rican-born and raised in Harlem, makeup artist Corey Tippin and photographer Bill Cunningham, among others.
    [Show full text]
  • Spy Films, American Foreign Policy, and the New Frontier of the 1960S
    Central Washington University ScholarWorks@CWU All Master's Theses Master's Theses Spring 2019 Bondmania: Spy Films, American Foreign Policy, and the New Frontier of the 1960s Luke Pearsons Central Washington University, [email protected] Follow this and additional works at: https://digitalcommons.cwu.edu/etd Part of the Cultural History Commons, History of Gender Commons, Political History Commons, and the United States History Commons Recommended Citation Pearsons, Luke, "Bondmania: Spy Films, American Foreign Policy, and the New Frontier of the 1960s" (2019). All Master's Theses. 1202. https://digitalcommons.cwu.edu/etd/1202 This Thesis is brought to you for free and open access by the Master's Theses at ScholarWorks@CWU. It has been accepted for inclusion in All Master's Theses by an authorized administrator of ScholarWorks@CWU. For more information, please contact [email protected]. BONDMANIA: SPY FILMS, AMERICAN FOREIGN POLICY, AND THE NEW FRONTIER OF THE 1960s __________________________________ A Thesis Presented to The Graduate Faculty Central Washington University ___________________________________ In Partial Fulfillment of the Requirements for the Degree Master of Arts History ___________________________________ by Luke Thomas Pearsons May 2019 CENTRAL WASHINGTON UNIVERSITY Graduate Studies We hereby approve the thesis of Luke Thomas Pearsons Candidate for the degree of Master of Arts APPROVED FOR THE GRADUATE FACULTY ______________ _________________________________________ Dr. Stephen Moore, Committee Chair ______________ _________________________________________ Dr. Daniel Herman ______________ _________________________________________ Dr. Chong Eun Ahn ______________ _________________________________________ Dean of Graduate Studies ii ABSTRACT BONDMANIA: SPY FILMS, AMERICAN FOREIGN POLICY, AND THE NEW FRONTIER OF THE 1960s by Luke Thomas Pearsons May 2019 The topic of this thesis are spy films that were produced during the Cold War, with a specific focus on the James Bond films and their numerous imitators.
    [Show full text]
  • Page 01 July 07.Indd
    ISO 9001:2008 CERTIFIED NEWSPAPER Dubai finances Djokovic wins still vulnerable, Wimbledon says IMF title Business | 17 Sport | 25 Monday 7 July 2014 • 9 Ramadan 1435 • Volume 19 Number 6119 www.thepeninsulaqatar.com [email protected] | [email protected] Editorial: 4455 7741 | Advertising: 4455 7837 / 4455 7780 Emir visits Kuwait Wish Al Jazeera Social media journalists were not tried: Al Sisi CAIRO: Egypt’s President erupts over Abdel Fattah Al Sisi said yes- terday he “wished” three jailed Al Jazeera journalists including an Australian had not been put on trial, conceding the case had Qataris’ arrest been damaging, a newspaper reported. The journalists — Australia’s Peter Greste, Canadian-Egyptian Ministry trying to resolve issue Mohamed Fahmy and Egyptian national Baher Mohamed — were DOHA: Three Qataris on a Arrest of Qataris in the UAE’, a sentenced to between seven and visit to Abu Dhabi to meet large number of people have aired 10 years in jail for allegedly defam- relatives have been detained concerns. At least one commenta- ing Egypt and aiding banned by the authorities there, local tor said he wondered why Qatar’s Islamists, in a ruling that sparked Arabic daily Al Arab reported Foreign Ministry was not disclos- a global outcry and demands for yesterday. ing the identity of those arrested. a presidential pardon. The arrests, made in an inhu- Another questioned if Al Arab The June 23 sentencing had had man way in the holy month of newspaper had taken up the role a “very negative effect,” Sisi con- Ramadan a few days ago, have led of Qatar’s Foreign Ministry.
    [Show full text]
  • Violence in Clinical Psychiatry Is Taking Place in the Stimulating, Idiosyncratic and Authentic City of Ghent
    Bart Thomas Roger Almvik Palmstierna Tom Henk Nijman Johan Håkon Bjørngaard Nico Oud Patrick Callaghan Patrick Callaghan - Nico Oud - Johan Håkon Bjørngaard Patrick Callaghan - Nico Oud - Johan Håkon Bjørngaard Henk Nijman - Tom Palmstierna - Roger Almvik - Bart Thomas Henk Nijman - Tom Palmstierna - Roger Almvik - Bart Thomas VIOLENCE “New horizons in interdisciplinary approaches” Proceedings of the 8th European Congress on The 8th European Congress on Violence in Clinical Psychiatry is taking place in the stimulating, idiosyncratic and authentic city of Ghent. VIOLENCE IN People from all corners of the world will deliver papers, symposia and workshops, present posters and debate how ‘new and interdisciplinary approaches’ might transform the landscape of violence research, CLINICAL education and practice. The concerns the congress addresses will be IN CLINICAL PSYCHIA of interest and signifi cance to people providing, using, developing and commissioning mental health and intellectual disability services, PSYCHIATRY as well as the people who shape policies. The congress showcases scientifi c advances in violence prevention, reduction, risk and management and their application to specifi c populations and topics. Leading international scholars who are at the forefront of thinking on violence in clinical psychiatry, and beyond, spearhead what promises to be a lively three days of making discoveries about violence in clinical psychiatry, and making these discoveries matter to people’s health and well being. Prof. Patrick Callaghan Mr. Nico Oud, MNSc ISBN 978-90-574-0112-1 Prof. Johan Håkon Bjørngaard Prof. Henk Nijman TRY Prof. Tom Palmstierna Dr. Roger Almvik 9 789057 401121 Mr. Bart Thomas, MSc Violence in Clinical Psychiatry Design and production: DM Creatieve Communicatie.
    [Show full text]