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The "femme" fatale in Brazilian cine...

Silva, Antônio Márcio da, (1980-)

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The "femme" fatale in Brazilian cinema : = challenging Hollywood norms /

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	The "femme" fatale in Brazilian cinema :/ by Antônio Márcio da Silva.
其他題名:	challenging Hollywood norms /
作者:	Silva, Antônio Márcio da,
面頁冊數:	1 online resource.
內容註:	1. The Black Femme Fatale in "Xica da Silva" -- 2. The Femme Fatale's "Troubled" Gender in "Madame Sat" -- 3. Social Class and the Virgin/Whore Dichotomy in "Bonitinha mas ordiǹria" -- 4. The Fetish 'Dirt' as 'Social Pollution': The Married Femme Fatale in "A dama do lotȧ̂o" -- 5. The 'Abject' Lesbian Fatale in "As intimidades de Analu e Fernanda" -- 6. 'Quoting' the Film-Noir Femme Fatale in "A dama do Cine Shanghai".
標題:	1900 - 1999 -
標題:	Femmes fatales in motion pictures. -
標題:	Brazil. -
電子資源:	http://link.springer.com/10.1057/9781137399212
ISBN:	113739921X (electronic bk.)

The "femme" fatale in Brazilian cinema : = challenging Hollywood norms /
Silva, Antônio Márcio da,1980-

The "femme" fatale in Brazilian cinema :challenging Hollywood norms /by Antônio Márcio da Silva. - 1 online resource.

Includes bibliographical references and index.

1. The Black Femme Fatale in "Xica da Silva" -- 2. The Femme Fatale's "Troubled" Gender in "Madame Sat" -- 3. Social Class and the Virgin/Whore Dichotomy in "Bonitinha mas ordiǹria" -- 4. The Fetish 'Dirt' as 'Social Pollution': The Married Femme Fatale in "A dama do lotȧ̂o" -- 5. The 'Abject' Lesbian Fatale in "As intimidades de Analu e Fernanda" -- 6. 'Quoting' the Film-Noir Femme Fatale in "A dama do Cine Shanghai".

The femme fatale has long been constructed and understood in popular culture and cinema as a beautiful heterosexual Caucasian woman that belongs to film noir and neo-noir. Here, da Silva shows the need to incorporate diverse ethnic groups and male homosexuals into the range of "femmes" fatales. He examines how the Brazilian representations cross genre, gender, race, and class and offer alternative instances (black, slave, homosexual, married, and teenage) to the dominant Hollywood Caucasian model. As with gender performativity, the danger the femme fatale represents to society is constructed rather than being an innate feature. This figure represents areas of cultural anxiety, particularly around issues of sexuality and gender, but da Silva seeks to reframe these issues in the context of Brazilian film.

ISBN: 113739921X (electronic bk.)

Source: 746919Palgrave Macmillanhttp://www.palgraveconnect.comSubjects--Chronological Terms:

1900 - 1999
Subjects--Topical Terms:

715772
Femmes fatales in motion pictures.
Subjects--Geographical Terms:

678006
Brazil.
Index Terms--Genre/Form:

542853
Electronic books.

LC Class. No.: PN1995.9.F44 / S55 2014

Dewey Class. No.: 769.92

The "femme" fatale in Brazilian cinema : = challenging Hollywood norms /
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504 $a Includes bibliographical references and index.
505 0 $a 1. The Black Femme Fatale in "Xica da Silva" -- 2. The Femme Fatale's "Troubled" Gender in "Madame Sat" -- 3. Social Class and the Virgin/Whore Dichotomy in "Bonitinha mas ordiǹria" -- 4. The Fetish 'Dirt' as 'Social Pollution': The Married Femme Fatale in "A dama do lotȧ̂o" -- 5. The 'Abject' Lesbian Fatale in "As intimidades de Analu e Fernanda" -- 6. 'Quoting' the Film-Noir Femme Fatale in "A dama do Cine Shanghai".
520 $a The femme fatale has long been constructed and understood in popular culture and cinema as a beautiful heterosexual Caucasian woman that belongs to film noir and neo-noir. Here, da Silva shows the need to incorporate diverse ethnic groups and male homosexuals into the range of "femmes" fatales. He examines how the Brazilian representations cross genre, gender, race, and class and offer alternative instances (black, slave, homosexual, married, and teenage) to the dominant Hollywood Caucasian model. As with gender performativity, the danger the femme fatale represents to society is constructed rather than being an innate feature. This figure represents areas of cultural anxiety, particularly around issues of sexuality and gender, but da Silva seeks to reframe these issues in the context of Brazilian film.
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