Search Results for gilda

...Mary Ann Doane © 1983 by Camera Obscura 1983 Gilda (Charles Vidor, 1946) Gilda: Epistemology as Striptease Mary Ann Doane I. No Dice In the first shot of Gilda, I a slow tilt upward by the camera to face a frontal assault by a pair of dice thrown byjohnny I Glenn Ford...

... fucked ("only between the woman and the homosexual together may the normal male subject imagine himself covered front and back" (135 Forter argues that "Gilda can't show us that Johnny and Ballin are gay because any hard evidence it could possibly adduce would involve us...

... on the video work of Thierry Kuntzel not only in its relationship to film and film theory, but also in the context of the history of painting, the painterly and finally, of writing itself. In Gilda, Mary Ann Doane addresses what she describes as "the difficulty posed by the woman as a threat...

... is concerned primarily with male anxieties, projections, and fantasies. Richard Dyer put it succinctly in “Resistance Through Charisma: Rita Hayworth and Gilda”: [Flilm noir is characterized by a certain anxiety over the existence and definition of masculinity...

... Programs," in this issue. 16. Mary Ann Doane, "Gilda: Epistemology as Striptease," Camera Obscura 11 (Fall 1983), p. 23. 17. Todd Gitlin, Inside Prime Time (New York: Pantheon, 1983), p. 215. See a fuller discussion of The Mary Tyler Moore Show in Bathrick...

... of his- tory. Thus the film functions as a dehistoricizing vehicle for a period of time—marked by the posters of female film stars from Rita Hayworth (Gilda, dir. Charles Vidor, US, 1946) to Raquel Welch (One Million Years BC, dir. George Baker, UK, 1966)—in which the civil rights movement...

... a film starring Joan Crawford,” he laments, “let alone relished the magnificent biographical ironies of A Star Is Born or seen Bette Davis’s hair fall out in Mrs. Skeffington or Rita Hayworth dance in Gilda” (32). Possibly true, but many of them will have thrilled to Madonna...

... and the Masquerade: Theorizing the Female Spectator.” Screen 23, nos. 314 (1982): 74-88. -. “Gilda: Epistemology as Striptease.” Camera Obscura 11 (1983):7- 2 7. -. “The ‘Woman’s Film’: Possession and Address.” Re-Vision: Essays in Feminist Film Criticism. Edited by Doane et al. Frederick, MD...