Titlebook: Gossip, Women, Film, and Chick Flicks; Sarah-Mai Dang Book 2017 The Editor(s) (if applicable) and The Author(s) 2017 Philosophy.Gender.Vis

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Gossip as an Organizing Principle of Social Order and Perception,roach to gossip and film, Dang proposes gossip as a productive perspective for analyzing chick flicks which emphasize verbal expression, such as . and . In addition, she explains why these films are also well suited for understanding gossip as a theoretical film category and more generally for reflecting on gossip as a social practice.

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A Matter of Perspective,ctures society. Dang argues that the films present gossip as a way of viewing the world based on a specific relationship between an “I” and a “we.” This is how, she concludes, . and . do nothing less than stage the question “And who am I?”

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https://doi.org/10.1057/978-1-137-56018-6Philosophy; Gender; Visual Pleasure; Genre; Film Theory; Feminism; Woman’s Film; Film Experience; Aesthetics

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The Editor(s) (if applicable) and The Author(s) 2017

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Sarah-Mai Dangfocuses on subject matters of gossip and chick flicks, which are mostly disregarded and yet undertheorized.shows that gossip is a productive perspective for analyzing chick flicks which emphasize verb

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New Jobs or Technological Unemployment?,ul study of gossip, in particular its treatment of the function and effects of gossip as a form of communication. The film itself can be defined as an aesthetic expression of gossip. Viewed as a social principal of order and perception, Dang shows how gossip functions as a common way of organizing t

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Tojo Thatchenkery,Keimei Sugiyama6, Douglas McGrath). As a film adaptation of one of Jane Austen’s novels, which have traditionally been associated with a female readership, the film . is an excellent example for thinking about how gender plays a role in the understanding of subjectivity. While Dang’s reading of . deals with the pe