Titlebook: Gossip, Women, Film, and Chick Flicks; Sarah-Mai Dang Book 2017 The Editor(s) (if applicable) and The Author(s) 2017 Philosophy.Gender.Vis

不持續(xù)就爆

enmesh

Gossip as an Organizing Principle of Social Order and Perception,roach to gossip and film, Dang proposes gossip as a productive perspective for analyzing chick flicks which emphasize verbal expression, such as . and . In addition, she explains why these films are also well suited for understanding gossip as a theoretical film category and more generally for reflecting on gossip as a social practice.

軌道

A Matter of Perspective,ctures society. Dang argues that the films present gossip as a way of viewing the world based on a specific relationship between an “I” and a “we.” This is how, she concludes, . and . do nothing less than stage the question “And who am I?”

Hyperplasia

https://doi.org/10.1057/978-1-137-56018-6Philosophy; Gender; Visual Pleasure; Genre; Film Theory; Feminism; Woman’s Film; Film Experience; Aesthetics

Insatiable

The Editor(s) (if applicable) and The Author(s) 2017

sclera

Sarah-Mai Dangfocuses on subject matters of gossip and chick flicks, which are mostly disregarded and yet undertheorized.shows that gossip is a productive perspective for analyzing chick flicks which emphasize verb

arabesque

遭遇

擁護(hù)

New Jobs or Technological Unemployment?,ul study of gossip, in particular its treatment of the function and effects of gossip as a form of communication. The film itself can be defined as an aesthetic expression of gossip. Viewed as a social principal of order and perception, Dang shows how gossip functions as a common way of organizing t

intention

Tojo Thatchenkery,Keimei Sugiyama6, Douglas McGrath). As a film adaptation of one of Jane Austen’s novels, which have traditionally been associated with a female readership, the film . is an excellent example for thinking about how gender plays a role in the understanding of subjectivity. While Dang’s reading of . deals with the pe