Additional information
by Heidi Wilkins (Author)
The representation of gender in film remains an intensely debated topic, particularly in academic considerations of US mainstream cinema where it is often perceived as perpetuating rigid, binary views of gender, and reinforcing patriarchal, dominant notions of masculinity and femininity. While previous scholarly discussion has focused on visual or narrative portrayals of gender, this book considers the ways that film sound - music, voice, sound effects and silence - is used to represent gender. Taking a socio-historical approach, Heidi Wilkins investigates a range of popular US genres including screwball comedy, the road movie and chick flicks to explore the ways that film sound can reinforce traditional assumptions about masculinity and femininity, impart ambivalent meanings to them, or even challenge and subvert the notion of gender itself. Case studies include His Girl Friday, Easy Rider and Bridesmaids.
Back Jacket
'Heidi Wilkins' book provides a welcome contribution to film/sound studies. The neglected issue of gender in relation to film sound in American mainstream cinema is well explored and vividly discussed. This book should appeal to a wide variety of readers. The writing is fluent and thoughtful throughout.' Stephen Deutsch, Bournemouth University The representation of gender in film remains an intensely debated topic, particularly in academic considerations of US mainstream cinema where it is often perceived as perpetuating rigid, binary views of gender, and reinforcing patriarchal, dominant notions of masculinity and femininity. While previous scholarly discussion has focused on visual or narrative portrayals of gender, this book considers the ways that film sound - music, voice, sound effects and silence - is used to represent gender. Taking a socio-historical approach, Heidi Wilkins investigates a range of popular US genres including screwball comedy, the road movie and chick flicks to explore the ways that film sound can reinforce traditional assumptions about masculinity and femininity, impart ambivalent meanings to them, or even challenge and subvert the notion of gender itself. Case studies include His Girl Friday, Easy Rider and Bridesmaids. Heidi Wilkins is a journalist and independent scholar. She has taught film studies at the University of Essex and has published several articles about film sound and gender in contemporary American cinema. Cover image: Bridesmaids, 2011, Paul Feig (c) Universal Pictures/The Kobal Collection/Suzanne Hanover Cover design: Clifford Hayes [EUP logo] www.euppublishing.com
Author Biography
Heidi Wilkins is a journalist and independent scholar. She has taught film studies at the University of Essex and has published several articles about film sound and gender in contemporary American cinema.
