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Overlooking the Evidence: Gender, ge...

Murray, Kathleen.

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Overlooking the Evidence: Gender, genre and the Woman Detective in Hollywood Film and Television.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Overlooking the Evidence: Gender, genre and the Woman Detective in Hollywood Film and Television./
作者:	Murray, Kathleen.
面頁冊數:	312 p.
附註:	Source: Dissertation Abstracts International, Volume: 76-05(E), Section: A.
Contained By:	Dissertation Abstracts International76-05A(E).
標題:	Film studies. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3648072
ISBN:	9781321429558

Overlooking the Evidence: Gender, genre and the Woman Detective in Hollywood Film and Television.
Murray, Kathleen.

Overlooking the Evidence: Gender, genre and the Woman Detective in Hollywood Film and Television. - 312 p.

Source: Dissertation Abstracts International, Volume: 76-05(E), Section: A.

Thesis (Ph.D.)--University of Pittsburgh, 2014.

The investigating woman, the female detective, or the lady crime solver poses a productive problem throughout the history of Hollywood film and television. Investigating women fundamentally disrupt the scopic and narrative regimes upon which Hollywood genre films depend. I argue that the investigating woman changes the way that the detective genre operates in four distinct modalities: the Adventurer, the Avenger, the Comedic and the Affective. Each mode articulates the figure through sometimes unlikely generic combinations. And in each mode the investigator performs femininity with a different valence. The female investigator thus becomes a space to explore gender's transformative effect on genre, different kinds of looking, and gender as performance.

ISBN: 9781321429558Subjects--Topical Terms:

2122736
Film studies.

Overlooking the Evidence: Gender, genre and the Woman Detective in Hollywood Film and Television.
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500 $a Source: Dissertation Abstracts International, Volume: 76-05(E), Section: A.
500 $a Adviser: Jane Feuer.
502 $a Thesis (Ph.D.)--University of Pittsburgh, 2014.
520 $a The investigating woman, the female detective, or the lady crime solver poses a productive problem throughout the history of Hollywood film and television. Investigating women fundamentally disrupt the scopic and narrative regimes upon which Hollywood genre films depend. I argue that the investigating woman changes the way that the detective genre operates in four distinct modalities: the Adventurer, the Avenger, the Comedic and the Affective. Each mode articulates the figure through sometimes unlikely generic combinations. And in each mode the investigator performs femininity with a different valence. The female investigator thus becomes a space to explore gender's transformative effect on genre, different kinds of looking, and gender as performance.
520 $a I examine what happens when films fail to evoke what Barry Langford calls the "generic unconscious." Genres only work if they are recognized as genres, if they exist with a productive feedback loop between producers, texts and audiences. Films featuring women detectives do not activate the semantic and syntactic markers of the detective film. They are burdened with the adjectival. They are "women" detective films. And the "woman" part moves these films, sometimes forcibly, into other generic terrains: the woman's picture, melodrama, horror, comedy, romance, adventure.
520 $a Each chapter investigates a mode through close reading several transhistoric texts ranging from Sherlock, Jr. to Zero Dark Thirty that serve to illustrate the possibilities held within the modality. In my conclusion, I test my taxonomy in the laboratory of television where the figure moves through several modes in a single program, sometimes a single episode. From 1957's Decoy to Veronica Mars (2004-7), this fluidity is both the strength of investigating women in a genre that is powered by novelty, and a sign of the abiding lack of ease a woman who looks creates, manifested on the level of genre. These modes do not solve the problem of the investigating woman in film, but rather make the problem explicit. The modes serve to expose the contours of the problem through the films' failed attempts to resolve it.
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