Claudia Gorbman Research Articles

Democracy without Women: Feminism and the Rise of Liberal Individualism in France. Christine Fauré , Claudia Gorbman , John Berks

Previous articleNext article No AccessBook ReviewsDemocracy without Women: Feminism and the Rise of Liberal Individualism in France. Christine Fauré , Claudia Gorbman , John Berks Elizabeth ColwillElizabeth Colwill Search for more articles by this author PDFPDF PLUS Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by The Journal of Modern History Volume 66, Number 3Sep., 1994 Article DOIhttps://doi.org/10.1086/244903 Views: 3Total views on this site Copyright 1994 The University of ChicagoPDF download Crossref reports no articles citing this article.

Shifting Scenes: Interviews on Women, Writing, and Politics in Post-68 France. Alice A. Jardine , Anne M. MenkeLuce Irigaray: Philosophy in the Feminine. Margaret WhitfordDemocracy without Women: Feminism and the Rise of Liberal Individualism in France. Christine Fauré , Claudia Gorbman , John BerksChain Her by One Foot: The Subjugation of Women in Seventeenth-Century New France. Karen AndersonThe Rhetoric of

<i>Shifting Scenes: Interviews on Women, Writing, and Politics in Post-68 France</i>. Alice A. Jardine , Anne M. Menke<i>Luce Irigaray: Philosophy in the Feminine</i>. Margaret Whitford<i>Democracy without Women: Feminism and the Rise of Liberal Individualism in France</i>. Christine Fauré , Claudia Gorbman , John Berks<i>Chain Her by One Foot: The Subjugation of Women in Seventeenth-Century New France</i>. Karen Anderson<i>The Rhetoric of

"It's Only That I Do What I Love and Love What I Do": "Film Noir" and the Musical Woman

Many film scholars writing about film music or the film musical note how singing claims our attention over, as Alan Williams puts it, more (narratively) important speech or sound effects.' Thus, as Williams concludes, narrative seem die (or hibernate) in the musical number.2 Claudia Gorbman writes that songs require narrative to cede spectacle, for it seems that lyrics and compete for attention.3 But while musical numbers are perhaps the most important signifying elements of the generic film musical, the opposite seems pertain similar performances in nonmusical films. When a character in a dramatic film sings a song--Rita Hayworth in Gilda (1946) being one example that Gorbman uses--significant is deferred because the narrative freezes for the duration of the song.-4 A musical interlude may provide what Gorbman refers as pleasure, but the fact remains that when musical numbers are interjected into nonmusical films, they tend be dismissed as moments during which nothing important happens. Or, in Laura Mulvey's classic paradigm of spectatorship, such numbers function mainly as erotic spectacle which fetishizes women and thus plays and signifies male Yet an examination of Rita Hayworth's performances in Gilda and its 1952 rehash Affair in Trinidad suggests that, even in a genre of alienation like film noir, the musical number not only causes narrative rupture but, by so doing, may provide a place where very significant action can occur. In fact, as I will argue, musical performance is one of the places in classical Hollywood cinema in which women do not necessarily always play only male desire. Even Mulvey notes that the sexual impact of the performing woman [can take a] film into a no-man's-land outside its own time and space,6 and because of the particular though largely unacknowledged function of music, as well as dance, in these moments, this may be precisely the point. As is well known, manyfilms noirs feature women as singers or showgirls. Most typically these films present the simple singing of a song, within the diegesis, straight (often in a nightclub or other underworld setting). But the sort of narrative rupture I have in mind is not achieved simply by adding musical

Book Reviews

Book Reviews

Hanns Eisler in Hollywood

Journal Article Hanns Eisler in Hollywood Get access Claudia Gorbman Claudia Gorbman Search for other works by this author on: Oxford Academic Google Scholar Screen, Volume 32, Issue 3, Autumn 1991, Pages 272–285, https://doi.org/10.1093/screen/32.3.272 Published: 01 October 1991

Claudia Gorbman, Unheard Melodies: Narrative Film Music; Rick Altman, The American Film Musical

Claudia Gorbman, Unheard Melodies: Narrative Film Music; Rick Altman, The American Film Musical

Review: Unheard Melodies: Narrative Film Music by Claudia Gorbman

Review: Unheard Melodies: Narrative Film Music by Claudia Gorbman

Review: Film Score: The View from the Podium by Tony Thomas

Book Review| July 01 1980 Review: Film Score: The View from the Podium by Tony Thomas Film Score: The View from the PodiumTony Thomas Claudia Gorbman Claudia Gorbman Search for other works by this author on: This Site PubMed Google Scholar Film Quarterly (1980) 33 (4): 44–45. https://doi.org/10.2307/1212015 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Claudia Gorbman; Review: Film Score: The View from the Podium by Tony Thomas. Film Quarterly 1 July 1980; 33 (4): 44–45. doi: https://doi.org/10.2307/1212015 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentFilm Quarterly Search This content is only available via PDF. Copyright 1980 The Regents of University of California Article PDF first page preview Close Modal You do not currently have access to this content.