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Cinematernity – by Lucy Fischer 1996 by Princeton University Press Published by Princeton University Press, 41 William Street, Princeton, New Jersey 08540 In the United Kingdom: Princeton University Press, Chichester, West Sussex Noting that filmmakers and critics have often used motherhood as a metaphor to describe film production and the cinematic apparatus, Lucy Fischer undertakes […]
Miss Gish was the gamest little woman in the world It was really pathetic to see the forlorn little creature huddled on a block of ice and the men pushing it off into the stream. . . . But the cold was bitter and Miss Gish was bare-headed and bare-handed and without a heavy outer coat so it was necessary at intervals to bring her in and get her warm. Sometimes when the ice wouldn’t behave she was almost helpless from the cold. (Lee Smith)
We might begin with the very concept of stereotype which on one level denotes "having no individuality, as though cast from a mold." Ironically, this very notion of uniformity constitutes a stereotype in the depiction of women in film. One thinks of female screen personae in terms of types with a reflex that is not so automatic in the case of males. We have, for instance, the "blonde bombshell," the "femme fatale," the "vamp," the "gamin," or the "sex goddess." These are not "career" specifications as are the masculine labels of "gangster" or "cowboy," but rather categories of sexual proclivity and physical demeanor. Indeed the entire history of cinema can be seen as constituting an ongoing fashion show of popular female "styles."
Lucy Fischer, 'The Image of Woman as Image: The Optical Politics of "Dames"' (1976)