000			02023fam a2200349 a 4500
001			2074365
003			ICES
005			20160205211419.0
008			970331s19981997ncu 001 0 eng
010			_a 97013147
020			_a0822320290 (cloth : alk. paper)
020			_a082232041X (pbk. : alk. paper)
035			_a(OCoLC)367389717
035			_a(OCoLC)ocn367389717
035			_a(NNC)2074365
040			_aDLC _cDLC _dNNC _dOrLoB-B
050	0	0	_aPN1995.9.S47 _bW56 1998
082	0	0	_a070 _bWIL
100	1		_aWillis, Sharon. _9791
245	1	0	_aHigh contrast _brace and gender in contemporary Hollywood films _cby Sharon Willis.
260			_aDurham, N.C. : _bDuke University Press, _c[1998], c1997.
263			_a9801
300			_a266 p. ; _c24 cm.
500			_aIncludes index.
505	0	0	_gPt. I. _tBattles of the Sexes. _g1. _tMutilated Masculinities and Their Prostheses: Die Hards and Lethal Weapons. _g2. _tInsides Out: Public and Private Exchanges from Fatal Attraction to Basic Instinct. _g3. _tCombative Femininity: Thelma and Louise and Terminator 2 -- _gPt. II. _tEthnographies of the "White" Gaze. _g4. _tDo the Wrong Thing: David Lynch's Perverse Style. _g5. _tTell the Right Story: Spike Lee and the Politics of Representative Style. _g6. _tBorrowed "Style": Quentin Tarantino's Figures of Masculinity.
520			_aIn High Contrast, Sharon Willis examines the dynamic relationships between racial and sexual difference in Hollywood film from the 1980s and 1990s.
520	8		_aSeizing on the way these differences are accentuated, sensationalized, and eroticized on the screen - most often with little apparent regard for the political context in which they operate - Willis restores that context through close readings of a range of movies from cinematic blockbusters to the work of the new auteurs, Spike Lee, David Lynch, and Quentin Tarantino.
650		0	_aAfrican Americans in motion pictures. _9792
650		0	_aSex role in motion pictures. _9793
900			_bTOC
942			_2z _cLM
999			_c220 _d220