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Framed: Women in Law and Film, Kamir, Orit, Good Book

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Good
“Good - Bumped and creased book with tears to the extremities, but not affecting the text block, may ”... Read moreabout condition
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Item specifics

Condition
Good
A book that has been read but is in good condition. Very minimal damage to the cover including scuff marks, but no holes or tears. The dust jacket for hard covers may not be included. Binding has minimal wear. The majority of pages are undamaged with minimal creasing or tearing, minimal pencil underlining of text, no highlighting of text, no writing in margins. No missing pages. See the seller’s listing for full details and description of any imperfections. See all condition definitionsopens in a new window or tab
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“Good - Bumped and creased book with tears to the extremities, but not affecting the text block, may ...
ISBN
9780822336365
Subject Area
Performing Arts, Social Science
Publication Name
Framed : Women in Law and Film
Publisher
Duke University Press
Item Length
9.8 in
Subject
Gender Studies, Women's Studies, Film / History & Criticism
Publication Year
2006
Type
Textbook
Format
Hardcover
Language
English
Item Height
0.6 in
Author
Orit Kamir
Item Weight
22 Oz
Item Width
5.9 in
Number of Pages
352 Pages

About this product

Product Identifiers

Publisher
Duke University Press
ISBN-10
0822336367
ISBN-13
9780822336365
eBay Product ID (ePID)
48636733

Product Key Features

Number of Pages
352 Pages
Language
English
Publication Name
Framed : Women in Law and Film
Publication Year
2006
Subject
Gender Studies, Women's Studies, Film / History & Criticism
Type
Textbook
Author
Orit Kamir
Subject Area
Performing Arts, Social Science
Format
Hardcover

Dimensions

Item Height
0.6 in
Item Weight
22 Oz
Item Length
9.8 in
Item Width
5.9 in

Additional Product Features

Intended Audience
College Audience
LCCN
2005-025675
Dewey Edition
22
Reviews
"In this fascinating book, Orit Kamir displays an original method for reading law and film that illuminates both a remarkable set of films from around the world and many of our deepest assumptions about law. All this is done from a powerful feministic perspective. I know nothing like it."-James Boyd White, author of The Edge of Meaning, “In this fascinating book, Orit Kamir displays an original method for reading law and film that illuminates both a remarkable set of films from around the world and many of our deepest assumptions about law. All this is done from a powerful feministic perspective. I know nothing like it.�-James Boyd White, author of The Edge of Meaning, " Framed is groundbreaking. It pushes law-and-film scholarship forward in significant ways. The question at its core is not how various groups are represented but rather the more difficult one of how we as legal or cinematic audiences are led to judge these groups. Orit Kamir doesn't simply 'do' an analysis of a group of films. Rather, she uses a set of films as a vehicle to explore the mechanisms of judgment."--Rebecca Johnson, author of Taxing Choices: The Intersection of Class, Gender, Parenthood, and the Law, “ Framed is groundbreaking. It pushes law-and-film scholarship forward in significant ways. The question at its core is not how various groups are represented but rather the more difficult one of how we as legal or cinematic audiences are led to judge these groups. Orit Kamir doesn’t simply ‘do’ an analysis of a group of films. Rather, she uses a set of films as a vehicle to explore the mechanisms of judgment.�-Rebecca Johnson, author of Taxing Choices: The Intersection of Class, Gender, Parenthood, and the Law, " Framed is groundbreaking. It pushes law-and-film scholarship forward in significant ways. The question at its core is not how various groups are represented but rather the more difficult one of how we as legal or cinematic audiences are led to judge these groups. Orit Kamir doesn't simply 'do' an analysis of a group of films. Rather, she uses a set of films as a vehicle to explore the mechanisms of judgment."-Rebecca Johnson, author of Taxing Choices: The Intersection of Class, Gender, Parenthood, and the Law, "Framed is groundbreaking. It pushes law-and-film scholarship forward in significant ways. The question at its core is not how various groups are represented but rather the more difficult one of how we as legal or cinematic audiences are led to judge these groups. Orit Kamir doesn't simply 'do' an analysis of a group of films. Rather, she uses a set of films as a vehicle to explore the mechanisms of judgment." Rebecca Johnson, author of Taxing Choices: The Intersection of Class, Gender, Parenthood, and the Law"In this fascinating book, Orit Kamir displays an original method for reading law and film that illuminates both a remarkable set of films from around the world and many of our deepest assumptions about law. All this is done from a powerful feministic perspective. I know nothing like it." James Boyd White, author of The Edge of Meaning, "In this fascinating book, Orit Kamir displays an original method for reading law and film that illuminates both a remarkable set of films from around the world and many of our deepest assumptions about law. All this is done from a powerful feministic perspective. I know nothing like it."--James Boyd White, author of The Edge of Meaning
CLASSIFICATION_METADATA
{"IsNonfiction":["Yes"],"IsOther":["No"],"IsAdult":["No"],"MuzeFormatDesc":["Hardcover"],"IsChildren":["No"],"Genre":["PERFORMING ARTS","SOCIAL SCIENCE"],"Topic":["Women's Studies","Gender Studies","Film / History & Criticism"],"IsTextBook":["Yes"],"IsFiction":["No"]}
Dewey Decimal
792.082
Table Of Content
Acknowledgments ix Preface xi Introduction: Conceptual Framework 1 Part I. Feminist Critique of Law Films that Honor-Judge Women 1. Rashomon (Japan, 1950): Construction of Woman as Guilty Object 43 2. Pandora's Box (Germany, 1928): Exorcising Pandora-Lilith in the Weimar Republic 73 3. Blackmail (England, 1929): Hitchcock's Sound and the New Woman's Guilty Silence 90 4. Anatomy of a Murder (U.S.A., 1959): Hollywood's Hero-Lawyer Revives the Unwritten Law 112 Part II. Cinematic Women Demanding Judgment From Liberal Attitudes to Radical Feminist Jurisprudence and the Ethics of Care 5. Adam's Rib (U.S.A., 1949): Hollywood's Female Lawyer and Family Values (Read with Disclosure and Legally Blonde ) 135 6. Nuts (U.S.A., 1987): The Mad Woman's Day in Court 160 7. Death and the Maiden (U.S.A., 1994): Challenging Trauma with Feminine Judgment and Justice (Read with The Piano ) 185 Part III. Women Resisting and Subverting Judgment Beyond Conventional Feminist Jurisprudence 8. A Question of Silence (Netherlands, 1982): Feminist Community as Revolution (Read against "A Jury of Her Peers") 217 9. Set it Off (U.S.A., 1996): Minority Women at the Point of No Return 243 10. High Heels (Spain, 1991): Almodovar's Postmodern Transgression 264 Notes 285 Bibliography 299 Index 313
Synopsis
Theorizes the emerging field at the intersection of law and film through a detailed, feminist analysis of masterpiece films about law from around the world., Some women attack and harm men who abuse them. Social norms, law, and films all participate in framing these occurrences, guiding us in understanding and judging them. How do social, legal, and cinematic conventions and mechanisms combine to lead us to condemn these women or exonerate them? What is it, exactly, that they teach us to find such women guilty or innocent of, and how do they do so? Through innovative readings of a dozen movies made between 1928 and 2001 in Europe, Japan, and the United States, Orit Kamir shows that in representing "gender crimes," feature films have constructed a cinematic jurisprudence, training audiences worldwide in patterns of judgment of women (and men) in such situations. Offering a novel formulation of the emerging field of law and film, Kamir combines basic legal concepts--murder, rape, provocation, insanity, and self-defense--with narratology, social science methodologies, and film studies. Framed not only offers a unique study of law and film but also points toward new directions in feminist thought. Shedding light on central feminist themes such as victimization and agency, multiculturalism, and postmodernism, Kamir outlines a feminist cinematic legal critique, a perspective from which to evaluate the "cinematic legalism" that indoctrinates and disciplines audiences around the world. Bringing an original perspective to feminist analysis, she demonstrates that the distinction between honor and dignity has crucial implications for how societies construct women, their social status, and their legal rights. In Framed , she outlines a dignity-oriented, honor-sensitive feminist approach to law and film.
LC Classification Number
PN1995.9.W6K235 2006
Copyright Date
2006
ebay_catalog_id
4

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