Titlebook: Celluloid Sisters; Women And Popular Ci Janet Thumim,Jo Campling Book 1992 Palgrave Macmillan, a division of Macmillan Publishers Limited 1

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https://doi.org/10.1007/978-3-642-21625-1nsideration of the wider social field in which popular cinema, amongst other cultural forms, is situated, whereas if our attention is directed to the “the reader(s)” of the (film) text we may expect discussion to focus on the detailed workings of the text in respect of its apparent address to the individual reader.

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,Popular Cinema in Britain, 1945–1965,chapter is concerned with the qualifications which must be borne in mind while engaging in such an exploration of cinema popular in Britain between 1945–1965. The book as a whole is, precisely, a speculation about the available meanings of Woman in circulation at a time when cinema could be said to be the dominant form of mass culture.

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The Films: Narrative Themes, typical of the majority of films popular in the mid-forties, mid-fifties and mid-sixties, and to the two aspects of the cinema which particularly inflected marketing strategies, audience choices and, most important, audience readings of film — which are genre and stars.

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The Film Audience and the Female Reader,nsideration of the wider social field in which popular cinema, amongst other cultural forms, is situated, whereas if our attention is directed to the “the reader(s)” of the (film) text we may expect discussion to focus on the detailed workings of the text in respect of its apparent address to the individual reader.

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Optimisation of Production Under Uncertaintynd concern is with the usefulness of the various theoretical models outlined in the previous two sections on reading and the audience, in illuminating the ways in which any particular representation might be understood by its female audiences. Thus the first concern is straightforward, though noneth

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Female Readers and the Film Text,nd concern is with the usefulness of the various theoretical models outlined in the previous two sections on reading and the audience, in illuminating the ways in which any particular representation might be understood by its female audiences. Thus the first concern is straightforward, though noneth

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,Introduction: What Does ‘Popular Cinema’ Mean to Women?,ise all sorts of further questions. These concern the idea of “the popular” itself as well as questions about what “dominant” might mean in a plural, democratically organised society with a market-based economy. For feminists it also implies recognition of the continuing struggles of gender politics

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