Suchergebnisse

Introduction / Christine Gledhill -- Refiguring genre and gender. The genius of genre and ingenuity of women / Jane Gaines -- No fixed address: the women's picture from outrage to blue steel / Pam Cook -- Circulating emotion: race, gender, and genre in Crash / E. Deidre Pribram -- 100% pure adrenaline: gender and generic surface in Point break / Luke Collins -- Postfeminism and generic re-inventions. Troubling genre/reconstructing gender / E. Ann Kaplan -- Bodies and genres in transition: girlfight and real women have curves / Yvonne Tasker -- Private femininity, public femininity: tactical aesthetics in the costume film / Samiha Matin -- Generic gleaning: Agnès Varda, documentary, and the art of salvage / Lucy Fischer -- Gender aesthetics in "male" genres. It's a Mann's world? / Adam Segal -- Up close and personal: faces and names in Casualties of war / Deborah Thomas -- Gender hyperbole and the uncanny in the horror film: The shining / Katie Model -- Genre and gender transnational. Emotion, subjectivity, and the limits of desire: melodrama and modernity in Bombay cinema, 1940s-50s / Ira Bhaskar -- Woman, generic aesthetics, and the vernacular: Huangmei opera films from China to Hong Kong / Xiangyang Chen -- Homoeroticism contained: gender and sexual translation in John Woo's Migration to Hollywood / Vicente Rodriguez Ortega -- Generic "trans-ings": between genres, genders, and sexualities. Trash comes home: gender/genre subversion in the films of John Waters / Derek Kane-Meddock -- Femme fatale or lesbian femme: bound in sexual différance / Chris Straayer -- "The gay cowboy movie": queer masculinity on Brokeback Mountain / Steven Cohan

Dinah Shurey was the only woman to found her own film company in 1920s Britain, producing six films and directing one, all of which, despite their apparent popularity, are lost. Absence of films and (auto)biography, along with the "oddness" of Shurey's choice of military and naval melodramas, means film history has discounted her.
This article explores alternative historical sources—genealogical sites, popular magazines from her family's publishing house, autobiographies of women she worked with, source novels and short stories, industry meeting and law-court reports, trade papers and reviews, shipping manifests, and hospital records. Drawing on Debashree Mukherjee's concept of "cine-ecology," it pursues Shurey's career at the intersections of shifting social and professional networks and a diversity of sociocultural intertexts. It aims less to restore a forgotten woman filmmaker than garner insight into the lived experience of a career struggle, filtered through cultural changes, social and media events, conflicting industrial interests, and political calculations.