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Femininity and the costume film, 199...

Matin, Samiha.

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Femininity and the costume film, 1992-2006.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Femininity and the costume film, 1992-2006./
Author:	Matin, Samiha.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2010,
Description:	339 p.
Notes:	Source: Dissertations Abstracts International, Volume: 71-08, Section: A.
Contained By:	Dissertations Abstracts International71-08A.
Subject:	History. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3390454
ISBN:	9781109595543

Femininity and the costume film, 1992-2006.
Matin, Samiha.

Femininity and the costume film, 1992-2006. - Ann Arbor : ProQuest Dissertations & Theses, 2010 - 339 p.

Source: Dissertations Abstracts International, Volume: 71-08, Section: A.

Thesis (Ph.D.)--New York University, 2010.

This item is not available from ProQuest Dissertations & Theses.

This dissertation situates the genre of costume drama within post-feminist women's popular culture which I argue operates as an intimate public in its focus on femininity as a mode of self-construction. I examine these films for their focus on issues of privacy and publicness as shaping feminine identity and agency. The primary task facing the costume drama heroine is the negotiation of identity and agency with the social dictates of femininity, one that she resolves through forging a gender style that can reconcile the varied demands made of her. Experiences of privacy and publicness constitute the very crises that generate the heroine's process of self-construction. First, I analyze films that in different ways try to revalue privacy by recuperating practices of femininity connected to a private self. The themes explored are gender credibility through the performance of affect and feeling; dilemmas of secrecy, gossip, intuition and knowledge; public effects as a source of identity construction; and gender, dress, and agency. Second, I assess the generic features and motifs of Englishness, aesthetic history and 'pastness,' and the Victorian imaginary for the ways in which they uniquely support explorations and critiques of ideals of femininity and the binary system of gender. I argue that a primary function of an aestheticized past is to construct the promise of a "once and future feminine" that underpins the genre. Finally, I focus on the migration of generic elements into popular culture and back into the genre by examining the cross-influence between historical costume and historical influences in contemporary fashion, finding that the relationship between femininity, dress, and subjectivity is varied and complex across multiple platforms.

ISBN: 9781109595543Subjects--Topical Terms:

516518
History.

Femininity and the costume film, 1992-2006.
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245 1 0 $a Femininity and the costume film, 1992-2006.
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300 $a 339 p.
500 $a Source: Dissertations Abstracts International, Volume: 71-08, Section: A.
500 $a Publisher info.: Dissertation/Thesis.
500 $a Advisor: Murray, Susan.
502 $a Thesis (Ph.D.)--New York University, 2010.
506 $a This item is not available from ProQuest Dissertations & Theses.
506 $a This item must not be added to any third party search indexes.
506 $a This item must not be sold to any third party vendors.
520 $a This dissertation situates the genre of costume drama within post-feminist women's popular culture which I argue operates as an intimate public in its focus on femininity as a mode of self-construction. I examine these films for their focus on issues of privacy and publicness as shaping feminine identity and agency. The primary task facing the costume drama heroine is the negotiation of identity and agency with the social dictates of femininity, one that she resolves through forging a gender style that can reconcile the varied demands made of her. Experiences of privacy and publicness constitute the very crises that generate the heroine's process of self-construction. First, I analyze films that in different ways try to revalue privacy by recuperating practices of femininity connected to a private self. The themes explored are gender credibility through the performance of affect and feeling; dilemmas of secrecy, gossip, intuition and knowledge; public effects as a source of identity construction; and gender, dress, and agency. Second, I assess the generic features and motifs of Englishness, aesthetic history and 'pastness,' and the Victorian imaginary for the ways in which they uniquely support explorations and critiques of ideals of femininity and the binary system of gender. I argue that a primary function of an aestheticized past is to construct the promise of a "once and future feminine" that underpins the genre. Finally, I focus on the migration of generic elements into popular culture and back into the genre by examining the cross-influence between historical costume and historical influences in contemporary fashion, finding that the relationship between femininity, dress, and subjectivity is varied and complex across multiple platforms.
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