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American Postfeminist CinemaWomen, Romance and Contemporary Culture$
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Michele Schreiber

Print publication date: 2014

Print ISBN-13: 9780748693368

Published to Edinburgh Scholarship Online: September 2014

DOI: 10.3366/edinburgh/9780748693368.001.0001

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PRINTED FROM EDINBURGH SCHOLARSHIP ONLINE (www.edinburgh.universitypressscholarship.com). (c) Copyright Edinburgh University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in ESO for personal use.date: 19 September 2021

: Women, Postfeminism and Romance

: Women, Postfeminism and Romance

(p.1) Introduction: Women, Postfeminism and Romance
American Postfeminist Cinema

Michele Schreiber

Edinburgh University Press

The introduction presents the framework of the book and explains how female-centered romance films made since the early 1980s operate as a cycle, with both comedic and dramatic films reflecting contemporary women’s anxieties and perhaps more importantly, anxieties about women during the postfeminist period. The chapter outlines the mechanics of the cycle, discussing first, its narrative conventions and expectations,and second, its discourses about romantic love that have particular relevance forwomen who are both at thecenterof, andmake up the audience for, these films (and media texts). Using the scholarship of Angela McRobbie, Diane Negra, Yvonne Taskerand Mimi White as a foundation, the remainder of the chapter discusses how the postfeminist romance cycle reveals the reciprocal relationship between the romance formula and the most salient concerns of the postfeminist era, and furthermore, how romance frames the central tensions and paradoxes that dominate the postfeminist period. These tensions—pragmatism versus sentimentality, the past versus present, sexy versus funny, and independence versus dependence— frame the case studies in chapters two through five.

Keywords:   film, romance, cycle, genre, postfeminism

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