Cold War Femme: Lesbianism, National Identity, and Hollywood Cinema
In his bestselling book The Grapevine: A Report on the Secret World of the Lesbian (1965), Jess Stearn announced that, contrary to the assumptions of many Americans, most lesbians appeared indistinguishable from other women. They could mingle "congenially in conventional society." Some wer...
Gespeichert in:
| 1. Verfasser: | |
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| Format: | Elektronisch E-Book |
| Sprache: | English |
| Veröffentlicht: |
Durham
Duke University Press
[2011]
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| Schlagworte: | |
| Online-Zugang: | FAB01 FAW01 FHA01 FKE01 FLA01 UBG01 UPA01 FCO01 URL des Erstveröffentlichers |
| Zusammenfassung: | In his bestselling book The Grapevine: A Report on the Secret World of the Lesbian (1965), Jess Stearn announced that, contrary to the assumptions of many Americans, most lesbians appeared indistinguishable from other women. They could mingle "congenially in conventional society." Some were popular sex symbols; some were married to unsuspecting husbands. Robert J. Corber contends that The Grapevine exemplified a homophobic Cold War discourse that portrayed the femme as an invisible threat to the nation. Underlying this panic was the widespread fear that college-educated women would reject marriage and motherhood as aspirations, weakening the American family and compromising the nation's ability to defeat totalitarianism. Corber argues that Cold War homophobia transformed ideas about lesbianism in the United States. In the early twentieth century, homophobic discourse had focused on gender identity: the lesbian was a masculine woman. During the Cold War, the lesbian was reconceived as a woman attracted to other women. Corber develops his argument by analyzing representations of lesbianism in Hollywood movies of the 1950s and 1960s, and in the careers of some of the era's biggest female stars. He examines treatments of the femme in All About Eve, The Children's Hour, and Marnie, and he explores the impact of Cold War homophobia on the careers of Joan Crawford, Bette Davis, and Doris Day |
| Beschreibung: | Description based on online resource; title from PDF title page (publisher's Web site, viewed 28. Okt 2020) |
| Beschreibung: | 1 online resource (236 pages) 14 illustrations |
| ISBN: | 9780822393788 |
| DOI: | 10.1515/9780822393788 |
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| 520 | |a In his bestselling book The Grapevine: A Report on the Secret World of the Lesbian (1965), Jess Stearn announced that, contrary to the assumptions of many Americans, most lesbians appeared indistinguishable from other women. They could mingle "congenially in conventional society." Some were popular sex symbols; some were married to unsuspecting husbands. Robert J. Corber contends that The Grapevine exemplified a homophobic Cold War discourse that portrayed the femme as an invisible threat to the nation. Underlying this panic was the widespread fear that college-educated women would reject marriage and motherhood as aspirations, weakening the American family and compromising the nation's ability to defeat totalitarianism. Corber argues that Cold War homophobia transformed ideas about lesbianism in the United States. In the early twentieth century, homophobic discourse had focused on gender identity: the lesbian was a masculine woman. During the Cold War, the lesbian was reconceived as a woman attracted to other women. Corber develops his argument by analyzing representations of lesbianism in Hollywood movies of the 1950s and 1960s, and in the careers of some of the era's biggest female stars. He examines treatments of the femme in All About Eve, The Children's Hour, and Marnie, and he explores the impact of Cold War homophobia on the careers of Joan Crawford, Bette Davis, and Doris Day | ||
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| author | Corber, Robert J. |
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| indexdate | 2024-07-10T09:01:09Z |
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| isbn | 9780822393788 |
| language | English |
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| spelling | Corber, Robert J. Verfasser aut Cold War Femme Lesbianism, National Identity, and Hollywood Cinema Robert J. Corber Durham Duke University Press [2011] © 2011 1 online resource (236 pages) 14 illustrations txt rdacontent c rdamedia cr rdacarrier Description based on online resource; title from PDF title page (publisher's Web site, viewed 28. Okt 2020) In his bestselling book The Grapevine: A Report on the Secret World of the Lesbian (1965), Jess Stearn announced that, contrary to the assumptions of many Americans, most lesbians appeared indistinguishable from other women. They could mingle "congenially in conventional society." Some were popular sex symbols; some were married to unsuspecting husbands. Robert J. Corber contends that The Grapevine exemplified a homophobic Cold War discourse that portrayed the femme as an invisible threat to the nation. Underlying this panic was the widespread fear that college-educated women would reject marriage and motherhood as aspirations, weakening the American family and compromising the nation's ability to defeat totalitarianism. Corber argues that Cold War homophobia transformed ideas about lesbianism in the United States. In the early twentieth century, homophobic discourse had focused on gender identity: the lesbian was a masculine woman. During the Cold War, the lesbian was reconceived as a woman attracted to other women. Corber develops his argument by analyzing representations of lesbianism in Hollywood movies of the 1950s and 1960s, and in the careers of some of the era's biggest female stars. He examines treatments of the femme in All About Eve, The Children's Hour, and Marnie, and he explores the impact of Cold War homophobia on the careers of Joan Crawford, Bette Davis, and Doris Day In English PERFORMING ARTS / Film & Video / History & Criticism bisacsh Cold War Social aspects United States Lesbianism in motion pictures Women in popular culture United States https://doi.org/10.1515/9780822393788 Verlag URL des Erstveröffentlichers Volltext |
| spellingShingle | Corber, Robert J. Cold War Femme Lesbianism, National Identity, and Hollywood Cinema PERFORMING ARTS / Film & Video / History & Criticism bisacsh Cold War Social aspects United States Lesbianism in motion pictures Women in popular culture United States |
| title | Cold War Femme Lesbianism, National Identity, and Hollywood Cinema |
| title_auth | Cold War Femme Lesbianism, National Identity, and Hollywood Cinema |
| title_exact_search | Cold War Femme Lesbianism, National Identity, and Hollywood Cinema |
| title_exact_search_txtP | Cold War Femme Lesbianism, National Identity, and Hollywood Cinema |
| title_full | Cold War Femme Lesbianism, National Identity, and Hollywood Cinema Robert J. Corber |
| title_fullStr | Cold War Femme Lesbianism, National Identity, and Hollywood Cinema Robert J. Corber |
| title_full_unstemmed | Cold War Femme Lesbianism, National Identity, and Hollywood Cinema Robert J. Corber |
| title_short | Cold War Femme |
| title_sort | cold war femme lesbianism national identity and hollywood cinema |
| title_sub | Lesbianism, National Identity, and Hollywood Cinema |
| topic | PERFORMING ARTS / Film & Video / History & Criticism bisacsh Cold War Social aspects United States Lesbianism in motion pictures Women in popular culture United States |
| topic_facet | PERFORMING ARTS / Film & Video / History & Criticism Cold War Social aspects United States Lesbianism in motion pictures Women in popular culture United States |
| url | https://doi.org/10.1515/9780822393788 |
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