[1]
A world ruled by hilarity: gender and low comedy in the films of Amy Heckerling [in] Senses of Cinema: http://sensesofcinema.com/2002/filmmaker-profiles/heckerling/.
[2]
Abrams, J.J. 2006. Mission Impossible III.
[3]
Actresses fight ageism in entertainment [in] Digital Spy: 2010. http://www.digitalspy.com/movies/news/a222599/actresses-fight-ageism-in-entertainment/.
[4]
Alberti, J. 2013. "I Love You, Man”: Bromances, the Construction of Masculinity, and the Continuing Evolution of the Romantic Comedy. Quarterly Review of Film and Video. 30, 2 (2013), 159–172.
[5]
Anders, S. et al. 2016. Daddy’s home. Paramount Home Entertainment.
[6]
Anderson, E. 2009. Inclusive masculinity: the changing nature of masculinities. Taylor & Francis.
[7]
Anderson, E. 2009. Inclusive masculinity: the changing nature of masculinities. Taylor & Francis.
[8]
Andrews, M. and Chapman, B. 2012. Brave. Disney/Pixar.
[9]
Apatow, J. 2007. Knocked up. Universal Pictures.
[10]
Apatow, J. 2007. Knocked up. Universal Pictures.
[11]
Apatow, J. 2007. Knocked up. Universal Pictures.
[12]
Apatow, J. 2005. The 40 year old virgin. Universal Pictures.
[13]
Apatow, J. 2012. This Is 40.
[14]
Apatow, J. 2012. This Is 40.
[15]
Apted, M. 2006. Enough. Columbia Tristar.
[16]
Arroyo, J. 1999. Action/spectacle cinema: a Sight and sound reader. British Film Institute.
[17]
Ayers, Drew Bodies, Bullets, and Bad Guys: Elements of the Hardbody Film. Film Criticism. 32, 3.
[18]
Baker, B. 2006. Masculinity in fiction and film: representing men in popular genres, 1945-2000. Continuum.
[19]
Baker, B. 2006. Masculinity in fiction and film: representing men in popular genres, 1945-2000. Continuum.
[20]
Barreca, R. 1992. New perspectives on women and comedy. GHordon and Breach.
[21]
Beltran, M. 2004. Mas Macha: The New Latina American Action Hero [in] Action and adventure cinema. Action and adventure cinema. Routledge.
[22]
Benshoff, H.M. and Griffin, S. 2009. America on film: representing race, class, gender, and sexuality at the movies. Wiley-Blackwell.
[23]
Berlanti, G. 2011. Life as we know it. Warner Home Entertainment.
[24]
Bernardi, D. 2008. The persistence of whiteness: race and contemporary Hollywood cinema. Routledge.
[25]
Berridge, S. and Boyle, K. 2012. I love you man: Gendered narratives of friendship in contemporary Hollywood comedies. Feminist Media Studies. 14, 3 (2012), 353–368.
[26]
Bezucha, T. 2008. The family stone. Twentieth Century Fox Home Entertainment.
[27]
Billig, M. and Nottingham Trent University. TCS Centre 2005. Laughter and ridicule: towards a social critique of laughter. Sage in association with Theory, Culture & Society, Nottingham Trent University.
[28]
Bird, B. 2011. Mission impossible - Ghost Protocol. Paramount Pictures.
[29]
Bird, B. 2005. The Incredibles. Disney/Pixar.
[30]
Bont, J. de 1996. Twister.
[31]
Bordo, S. 1999. ‘Gentleman or Beast?: The Double Bind of Masculinity’ [in] The male body: a new look at men in public and in private. Farrar, Straus and Giroux.
[32]
Bordo, S. 1999. Gentleman or Beast? The Double Bind of Masculinity [in] The male body: a new look at men in public and in private. The male body: a new look at men in public and in private. Farrar, Straus and Giroux.
[33]
Bore, I.-L.K. 2010. (Un)funny women: TV comedy audiences and the gendering of humour. European Journal of Cultural Studies. 13, (2010). DOI:https://doi.org/10.1177/1367549409352272.
[34]
Bowdre, K. 2009. Romantic Comedies and the Raced Body [in] Falling in love again: romantic comedy in contemporary cinema. Falling in love again: romantic comedy in contemporary cinema. I. B. Tauris.
[35]
Boyle, K. and Berridge, S. 2014. I love you, man. Feminist Media Studies. 14, 3 (2014), 353–368. DOI:https://doi.org/10.1080/14680777.2012.740494.
[36]
Bradley, H. 2013. Gender. Polity.
[37]
Brest, M. 2003. Gigli. Columbia Tristar Home Entertainment.
[38]
Buck, C. and Lee, J. 2014. Frozen. Disney.
[39]
Burger, N. 2014. Divergent. Summit Entertainment.
[40]
Butler, J. 2006. "Women” as the subject of feminism [in] Gender trouble: feminism and the subversion of identity. Gender trouble: feminism and the subversion of identity. Routledge.
[41]
Byerly, C. 2012. The geography of women and media scholarship [in] The handbook of gender, sex, and media. The handbook of gender, sex, and media. Wiley-Blackwell.
[42]
Cameron, J. 1986. Aliens.
[43]
Cardoso, P. 2002. Real women have curves.
[44]
Chapman, R. and Rutherford, J. 1988. Male order: unwrapping masculinity. Lawrence & Wishart.
[45]
Chaudhuri, S. 2006. Feminist film theorists: Laura Mulvey, Kaja Silverman, Teresa de Lauretis, Barbara Creed. Routledge.
[46]
Chaudhuri, S. 2006. ‘Monstrous-Feminine’ [in] Feminist film theorists: Laura Mulvey, Kaja Silverman, Teresa de Lauretis, Barbara Creed. Feminist film theorists: Laura Mulvey, Kaja Silverman, Teresa de Lauretis, Barbara Creed. Routledge.
[47]
Clooney, G. 2005. Good night, and good luck.
[48]
Coen, J. and Coen, E. 2009. A serious man.
[49]
Coen, J. and Coen, E. 2008. Burn after reading.
[50]
Coen, J. and Coen, E. 2007. No country for old men. Paramount Home Entertainment.
[51]
Cohan, S. and Hark, I.R. 1993. Screening the male: exploring masculinities in Hollywood cinema. Routledge.
[52]
Colebrook, C. 2004. Irony. Routledge.
[53]
Cook, P. 1982. Masculinity in Crisis? Screen. 23, 3–4 (1982), 39–46. DOI:https://doi.org/10.1093/screen/23.3-4.39.
[54]
Cook, P. 1998. No Fixed Address: The Women’s Picture From Outrage to Blue Steel [in] Contemporary Hollywood cinema. Contemporary Hollywood cinema. Routledge.
[55]
Cosmatos, G.P. 2008. Rambo: First blood. Optimum Home Entertainment.
[56]
Coulthard, L. 2007. Killing Bill: Rethinking Feminism and Film Violence [in] Interrogating postfeminism: gender and the politics of popular culture. Interrogating postfeminism: gender and the politics of popular culture. Duke University Press.
[57]
Creed, Barbara HORROR AND THE MONSTROUS-FEMININE: AN IMAGINARY ABJECTION. Screen; Jan/Feb86, Vol. 27, Issue 1, p44-70, 27p, 44–70.
[58]
Cuarón, A. 2014. Gravity. Warner Bros. Entertainment Inc.
[59]
Davies, J. et al. 1997. Gender, ethnicity and sexuality in contemporary American film. Keele University Press [in association with the British Association for American Studies].
[60]
De Palma, B. 1996. Mission impossible. Paramount Pictures.
[61]
Di Meglio, V. and Inferno Distribution (Firm) 2007. Smother. Optimum Home Entertainment.
[62]
Dieckmann, K. 2010. Motherhood. Metrodome.
[63]
Dieckmann, K. 2010. Motherhood. Metrodome.
[64]
Dobkin, D. 2005. Wedding crashers. New Line Productions.
[65]
Douglas, S.J. and Michaels, M.W. 2004. The mommy myth: the idealization of motherhood and how it has undermined women. Free Press.
[66]
Dubrofsky, R.E. and Ryalls, E.D. 2014. : Performing Not-performing to Authenticate Femininity and Whiteness. Critical Studies in Media Communication. 31, 5 (Oct. 2014), 395–409. DOI:https://doi.org/10.1080/15295036.2013.874038.
[67]
Ducat, S. 2004. The wimp factor: gender gaps, holy wars, and the politics of anxious masculinity. Beacon Press.
[68]
Dyer, R. 1997. White. Routledge.
[69]
Dyer, R. and McDonald, P. 1998. ‘Stars as Social Phenomenon’ [in] Stars. BFI Pub.
[70]
Edwards, T. 2006. Crisis, what crisis? [in] Cultures of masculinity. Cultures of masculinity. Routledge.
[71]
Edwards, T. 2006. Cultures of masculinity. Routledge.
[72]
Edwards, T. 2006. Cultures of masculinity. Routledge.
[73]
Emmerich, R. 1996. Independence day. Twentieth Century Fox Home Entertainment.
[74]
Emmerich, R. 2004. The day after tomorrow. Twentieth Century Fox Home Entertainment.
[75]
Faludi 2000. Stiffed. Harper.
[76]
Faludi, S. 2007. The return of Superman [in] The terror dream: fear and fantasy in post-9/11 America. The terror dream: fear and fantasy in post-9/11 America. Metropolitan Books. 46–64.
[77]
Faludi, S. 1999. The son, the moon, and the stars: The promise of postwar manhood [in] Stiffed: the betrayal of modern man. Stiffed: the betrayal of modern man. Chatto & Windus. 3–47.
[78]
Faludi, S. 2007. The terror dream: fear and fantasy in post-9/11 America. Metropolitan Books.
[79]
Farrelly, P. and Farrelly, B. 2011. Hall Pass. Warner Home Video.
[80]
Feasey, R. 2012. From happy homemaker to desperate housewives: motherhood and popular television. Anthem.
[81]
Feig, P. 2011. Bridesmaids.
[82]
Fincher, D. 1992. Alien 3.
[83]
Finney, G. 1994. Look who’s laughing: gender and comedy. Gordon and Breach.
[84]
Fletcher, A. 2008. 27 dresses. 20th Century Fox Home Entertainment.
[85]
Fletcher, A. 2008. 27 dresses. 20th Century Fox Home Entertainment.
[86]
Ford, T. 2009. A single man.
[87]
Forster, M. 2001. Monster’s ball. Entertainment in Video.
[88]
Forster, M. 2008. Quantum of solace.
[89]
Friedman, L.D. 1991. Unspeakable images: ethnicity and the American cinema. University of Illinois Press.
[90]
Gaghan, S. 2005. Syriana. Warner Bros.
[91]
Gaines, J. 1999. White Privilege and Looking Relations : Race and Gender in Feminist Film Theory [in] Feminist film theory: a reader. Feminist film theory: a reader. Edinburgh University Press.
[92]
Gallagher, M. 2006. Action figures: men, action films, and contemporary adventure narratives. Palgrave Macmillan.
[93]
Garrett, R. 2007. Postmodern chick flicks: the return of the woman’s film. Palgrave Macmillan.
[94]
Genz, S. and Brabon, B.A. 2009. Postfeminism: cultural texts and theories. Edinburgh University Press.
[95]
Gilbert, J. 1997. Performing Marginality: Comedy, Identity and Cutural Critique [in] Text and Performance Quarterly. Text and Performance Quarterly. 17, 4 (1997), 317–330.
[96]
Gill, R. 2016. Post-postfeminism?: new feminist visibilities in postfeminist times. Feminist Media Studies. 16, 4 (Jul. 2016), 610–630. DOI:https://doi.org/10.1080/14680777.2016.1193293.
[97]
Gilpatric, K. 2010. Violent Female Action Characters in Contemporary American Cinema. Sex Roles. 62, 11–12 (2010), 734–746. DOI:https://doi.org/10.1007/s11199-010-9757-7.
[98]
Gilroy, T. 2007. Michael Clayton. Twentieth Century Fox Home Entertainment LLC.
[99]
Ginneken, J. van 2007. Screening difference: how Hollywood’s blockbuster films imagine race, ethnicity, and culture. Rowman & Littlefield.
[100]
Gluck, W. 2011. Easy A. Sony Pictures Home Entertainment.
[101]
Gluck, W. 2011. Friends with benefits. Sony Pictures Home Entertainment.
[102]
Goldwyn, T. 2006. The Last Kiss. Momentum.
[103]
Goodwill, J. 2011. The new female action hero: an analysis of female masculinity in the new female action hero in recent films and television shows. Brave New World Publishing.
[104]
Gordon, J. and Speck, W. 2011. The switch. Lions Gate Home Entertainment.
[105]
Grant, B.K. ed. 2015. Linda Williams, When the Woman Looks [in] The dread of difference: gender and the horror film. The dread of difference: gender and the horror film. University of Texas Press.
[106]
Greno, N. and Howard, B. 2010. Tangled. Disney DVD.
[107]
Greven, D. 2009. Manhood in Hollywood from Bush to Bush. University of Texas Press.
[108]
Greven, D. 2009. Manhood in Hollywood from Bush to Bush. University of Texas Press.
[109]
Haggis, P. 2004. Crash. Pathé.
[110]
Hall, A.C. and Bishop, M. 2009. Mommy angst: motherhood in American popular culture. Praeger.
[111]
Hamburg, J. 2009. I love you man. Paramount Home Entertainment.
[112]
Hamilton, T. et al. 2007. Mama’s boy. BAC Video.
[113]
Hamri, S. 2010. Just Wright.
[114]
Hamri, S. 2006. Something new. Universal.
[115]
Hanson, C. 2005. In her shoes. Twentieth Century Fox Home Entertainment.
[116]
Hanson, C. 2005. In her shoes. Twentieth Century Fox Home Entertainment.
[117]
Harlin, R. 2004. The long kiss goodnight. Entertainment in Video.
[118]
Harris, K.M. 2006. Boys, boyz, bois: an ethics of Black masculinity in film and popular media. Routledge.
[119]
Harron, M. 2000. American psycho. Entertainment in Video.
[120]
Hart, L. 1994. Fatal women: lesbian sexuality and the mark of aggression. Routledge.
[121]
Heartfield, J. 2002. There is No Masculinity Crisis [in] Genders OnLine Journal. Genders OnLine Journal - There is No Masculinity Crisis. 35 (2002).
[122]
Heartfield, J. 2002. There is No Masculinity Crisis [in] Genders OnLine Journal. Genders OnLine Journal - There is No Masculinity Crisis. 35 (2002).
[123]
Herman-Wurmfeld, C. 2003. Legally blonde 2. MGM Home Entertainment.
[124]
Hill Collins, P. 2009. Black feminist thought: knowledge, consciousness, and the politics of empowerment. Routledge.
[125]
Hills, E. 1999. From "figurative males” to action heroines: further thoughts on active women in the cinema. Screen. 40, 1 (1999), 38–50.
[126]
Hogan, P.J. 2005. Confessions of a shopaholic. Touchstone Home Entertainment.
[127]
Hogan, P.J. 2005. Confessions of a shopaholic. Touchstone Home Entertainment.
[128]
Hollinger, K. 2012. ‘Feminist Film Studies and Race’ [in] Feminist film studies. Feminist film studies. Routledge.
[129]
hooks, bell 1999. ‘The Oppositional Gaze: Black Female Spectators’ [in] Feminist film theory: a reader. Edinburgh University Press.
[130]
Hooks, B. 1996. Doing it for daddy: black masculinity in the mainstream [in] Reel to real: race, sex, and class at the movies. Reel to real: race, sex, and class at the movies. Routledge.
[131]
Hooks, B. 1999. The Oppositional Gaze: Black Female Spectators [in] Feminist film theory: a reader. Feminist film theory: a reader. Edinburgh University Press.
[132]
Horeck, T. 2003. Public rape: representing violation in fiction and film. Routledge.
[133]
Horton, A. 1991. Comedy/cinema/theory. University of California Press.
[134]
Howard, R. 2011. Dilemma.
[135]
Hunter, L. 2003. The Celluloid Cubicle: Regressive Constructions of Masculinity in 1990s Office Movies [in] Journal of American Culture. Journal of American Culture. 26, 1 (2003), 71–86.
[136]
Hutcheon, L. 1994. Irony’s edge: the theory and politics of irony. Routledge.
[137]
Inness, S.A. 2004. Action chicks: new images of tough women in popular culture. Palgrave Macmillan.
[138]
Inness, S.A. 1999. Tough girls: women warriors and wonder women in popular culture. University of Pennsylvania Press.
[139]
Jeffords, S. 1993. Hard bodies: Hollywood masculinity in the Reagan era. Rutgers University Press.
[140]
Jeffrey A. Brown 1996. Gender and the Action Heroine: Hardbodies and the ‘Point of No Return’. Cinema Journal. 35, 3 (1996), 52–71.
[141]
Jermyn, D. Rereading the Bitches from Hell: A Feminist Appropriation of the Female Psychopath. Screen. 37, 3, 251–267.
[142]
Jeunet, J.-P. 1997. Alien resurrection.
[143]
Jones, K. et al. 2012. What to expect when you’re expecting. Lionsgate Home Entertainment.
[144]
Jones, K. 2012. What to expect when you’re expecting. Lionsgate Home Entertainment.
[145]
Jones, K. 2012. What to expect when you’re expecting. Lionsgate Home Entertainment.
[146]
Kaklamanidou, B. 2013. Genre, gender and the effects of neoliberalism: the new millennium Hollywood rom com. Routledge.
[147]
Kaklamanidou, B. 2013. The baby crazed rom-com [in] Genre, gender and the effects of neoliberalism: the new millennium Hollywood rom com. Genre, gender and the effects of neoliberalism: the new millennium Hollywood rom com. Routledge.
[148]
Kaplan, E.A. 1997. Looking for the other: feminism, film, and the imperial gaze. Routledge.
[149]
Karlyn, K.R. 1995. The unruly woman: gender and the genres of laughter. University of Texas Press.
[150]
Karlyn, K.R. 2011. Unruly girls, unrepentant mothers: redefining feminism on screen. University of Texas Press.
[151]
Kasdan, J. 2011. Bad teacher. Sony Pictures Home Entertainment.
[152]
Kasdan, J. 2011. Bad teacher. Sony Pictures Home Entertainment.
[153]
Kathleen, R. 1995. Pig ladies, big ladies, and ladies with big mouths: Feminism and the carnivalesque [in] The unruly woman: gender and the genres of laughter. The unruly woman: gender and the genres of laughter. University of Texas Press. 25–49.
[154]
Kimmel, M.S. 2012. Manhood in America: a cultural history. Oxford University Press.
[155]
Kimmel, M.S. 2012. Manhood in America: a cultural history. Oxford University Press.
[156]
King, G. 2002. Film comedy. Wallflower.
[157]
King, G. 2002. Regressions and Transgressions [in] Film comedy. Film comedy. Wallflower.
[158]
King, M.P. 2008. Sex and the city: the movie. New Line Cinema.
[159]
Kirby, P. 2015. The Girl on Fire: The Hunger Games, Feminist Geopolitics and the Contemporary Female Action Hero. Geopolitics. 20, 2 (Apr. 2015), 460–478. DOI:https://doi.org/10.1080/14650045.2014.984835.
[160]
Kirkland, E. Romantic Comedies and the Construction of Heterosexuality [in] Scope. Scope.
[161]
Kotthoff, H. 2006. Gender and humor: the state of the art. Journal of Pragmatics. 38, 1 (2006), 4–25. DOI:https://doi.org/10.1016/j.pragma.2005.06.003.
[162]
Kotthoff, H. 2000. Gender and joking: on the complexities of women’s image politics in humorous narratives. Journal of Pragmatics. 32, 1 (2000), 55–80. DOI:https://doi.org/10.1016/S0378-2166(99)00031-4.
[163]
Krutnik, F. 2002. Hollywood comedians, the film reader. Routledge.
[164]
Kumble, R. 2006. Just friends. Momentum Pictures.
[165]
Kusama Jennifer’s body.
[166]
Kusama, K. 2000. Girlfight. Columbia TriStar Home Entertainment.
[167]
Lauzen, M. 2014. The funny business of being Tina Fey: constructing a (feminist) comedy icon. Feminist Media Studies. 14, 1 (2014), 106–117. DOI:https://doi.org/10.1080/14680777.2012.740060.
[168]
Lawrence Hunger games: complete 4-film collection.
[169]
Lehmann, M. and Gold Circle Films 2007. Because I said so. Entertainment in Video.
[170]
Leiner, D. 2000. Dude, Where’s My Car? Twentieth Century Fox.
[171]
Leonard, D.J. 2006. Screens fade to black: contemporary African American cinema. Praeger Publishers.
[172]
Levy, S. 2010. Date night. Twentieth Century Fox Home Entertainment.
[173]
Lichtenfeld, E. 2004. Action speaks louder: violence, spectacle, and the American action movie. Praeger.
[174]
Liddi-Brown, A. 2009. Princess protection programme. Disney DVD.
[175]
Lima, K. 2008. Enchanted.
[176]
Liman, D. 2005. Mr & Mrs Smith. Film4.
[177]
Liman, D. 1996. Swingers.
[178]
Lloyd, P. et al. 2008. Mamma mia! Universal Pictures (UK).
[179]
Luketic, R. 2002. Legally blonde. MGM Home Entertainment.
[180]
Luketic, R. 2005. Monster-in-Law. Entertainment in Video.
[181]
Lyne, A. 2002. Fatal attraction. Paramount Home Entertainment.
[182]
Maher, J. 2011. Eggs in many baskets : Juno (2007), Baby Mama (2008), and the new intimacies of reproduction [in] Feminism at the movies: understanding gender in contemporary popular cinema. Feminism at the movies: understanding gender in contemporary popular cinema. Routledge.
[183]
Mangold, J. 2003. Kate & Leopold. Miramax.
[184]
Marshall, G. 2005. Princess diaries 2: royal engagement. Walt Disney Home Video.
[185]
Marshall, G. 2002. The princess diaries. Walt Disney Home Video.
[186]
Matthews, N. 2000. Comic politics: gender in Hollywood comedy after the new right. Manchester University Press.
[187]
McG 2001. Charlie’s angels. Columbia TriStar Home Entertainment.
[188]
McQuarrie, C. 2015. Mission impossible - Rogue Nation. Paramount Pictures.
[189]
McRobbie, A. 2009. Post-feminism and popular culture : Bridget Jones [in] The aftermath of feminism: gender, culture and social change. The aftermath of feminism: gender, culture and social change. SAGE.
[190]
McRobbie, A. 2009. The aftermath of feminism: gender, culture and social change. SAGE.
[191]
Mendible, M. 2007. From bananas to buttocks: the Latina body in popular film and culture. University of Texas Press.
[192]
Meyers, N. 2009. It’s complicated.
[193]
Meyers, N. 2004. Something’s gotta give. Warner Home Video.
[194]
Meyers, N. 2007. The holiday. Universal.
[195]
Meyers, N. 1998. The parent trap. Walt Disney Home Video.
[196]
Meyers, N. 2001. What women want. Icon Home Entertainment.
[197]
Milestone, K. and Meyer, A. 2012. Gender and popular culture. Polity.
[198]
Miller, T. and Miller, T. 2005. Cultural Scripts [in] Making sense of motherhood: a narrative approach. Making sense of motherhood: a narrative approach. Cambridge University Press.
[199]
Miller, T. and Miller, T. 2005. Making sense of motherhood: a narrative approach. Cambridge University Press.
[200]
Modleski, T. 1999. Cinema and the Dark Continent: Race and Gender in Popular Film [in] Feminist film theory: a reader. Feminist film theory: a reader. Edinburgh University Press.
[201]
Modleski, T. 1991. Feminism without women: culture and criticism in a postfeminist age. Routledge.
[202]
Modleski, T. 1991. Feminism without women: culture and criticism in a postfeminist age. Routledge.
[203]
Moore, J. Die hard: 1-5 legacy collection.
[204]
Morel, P. 2008. Taken.
[205]
Mortimer, C. 2010. Romantic comedy. Routledge.
[206]
Mottola, G. 2007. Superbad. Sony Pictures Home Entertainment.
[207]
Neale, S. 1983. Masculinity as Spectacle. Screen. 24, 6 (1983), 2–17. DOI:https://doi.org/10.1093/screen/24.6.2.
[208]
Negra, D. 2009. What a girl wants: fantasizing the reclamation of self in postfeminism. Routledge.
[209]
Neroni, H. 2005. The violent woman: femininity, narrative, and violence in contemporary American cinema. State University of New York Press.
[210]
Nolan, C. 2010. Inception. Distributed by Warner Home Video.
[211]
Nussbaum, J. 2008. Sydney White. Universal Pictures.
[212]
O’Day, M. 2004. Chapter 12 : Beauty in Motion: Gender, Spectacle and Action Babe Cinema [in] Action and adventure cinema. Action and adventure cinema. Routledge.
[213]
O’Haver, T. 2004. Ella enchanted. Miramax.
[214]
Orr, M. 2007. Kristeva and the trans-missions of the intertext : signs, mothers and speaking in tongues [in] Third wave feminism: a critical exploration. Third wave feminism: a critical exploration. Palgrave Macmillan.
[215]
Pfeil, F. 1995. White guys: studies in postmodern domination and difference. Verso.
[216]
Pfeil, F. 1995. White guys: studies in postmodern domination and difference. Verso.
[217]
Pitof 2005. Catwoman. Warner Home Video.
[218]
Pomerance, M. and Gateward, F.K. 2004. Where the boys are: cinemas of masculinity and youth. Wayne State University Press.
[219]
Poul, A. 2011. The back-up plan. Sony Pictures Home Entertainment.
[220]
Poul, A. 2011. The back-up plan. Sony Pictures Home Entertainment.
[221]
Powrie, P. et al. 2004. The trouble with men: masculinities in European and Hollywood cinema. Wallflower.
[222]
Powrie, P. et al. 2004. The trouble with men: masculinities in European and Hollywood cinema. Wallflower.
[223]
Prince-Bythewood, G. 2000. Love & basketball. Entertainment in Video.
[224]
Purse, L. 2011. Contemporary action cinema. Edinburgh University Press.
[225]
Radner, H. 2011. Something’s Gotta Give (2003): Nancy Meyers, Neo-Feminist Auteur [in] Neo-feminist cinema: girly films, chick flicks and consumer culture. Neo-feminist cinema: girly films, chick flicks and consumer culture. Routledge.
[226]
Radner, H. and Stringer, R. 2011. Introduction: "Re-Vision?”: feminist film criticism in the twenty-first century [in] Feminism at the movies: understanding gender in contemporary popular cinema. Feminism at the movies: understanding gender in contemporary popular cinema. Routledge.
[227]
Rahman, M. and Jackson, S. 2010. Gender and sexuality: sociological approaches. Polity.
[228]
Rahman, M. and Jackson, S. 2010. Gender and sexuality: sociological approaches. Polity.
[229]
Rahman, M. and Jackson, S. 2010. Gender and sexuality: sociological approaches. Polity.
[230]
Ramsay, L. 2012. We need to talk about Kevin. Artificial Eye.
[231]
Read, J. 2000. The new avengers: feminism, femininity, and the rape-revenge cycle. Manchester University Press.
[232]
Redfern, C. and Aune, K. 2010. Reclaiming the F word: the new feminist movement. Zed Books.
[233]
Reitman, I. 2011. No Strings Attached. Paramount Home Entertainment.
[234]
Reitman, J. 2008. Juno. 20th Century Fox Home Entertainment.
[235]
Reitman, J. 2008. Juno. 20th Century Fox Home Entertainment.
[236]
Roach, J. 2010. Dinner for schmucks.
[237]
Rosman, M. and Santostefano, D. 2012. A Cinderella story: [and] Another Cinderella story; [and] A Cinderella story : once upon a song. Warner Home Video.
[238]
Ross, G. 2012. The Hunger Games.
[239]
Ross, K. 2012. Save the Cheerleader, Save the Male: Resurgent Protective Paternalism in Popular Film and Television After 9/11 [in] The handbook of gender, sex, and media. The handbook of gender, sex, and media. Wiley-Blackwell.
[240]
Rubinfeld, M.D. and Rubinfield, M.D. 2001. Bound to bond: gender, genre, and the Hollywood romantic comedy. Praeger.
[241]
Scarlett Johansson: Women actresses are victims of Hollywood ageism - Telegraph: 2008. http://www.telegraph.co.uk/news/celebritynews/2547469/Scarlett-Johansson-Women-actresses-are-victims-of-Hollywood-ageism.html.
[242]
Schaap, R. 2011. No Country for Old Women: Gendering Cinema in Conglomerate Hollywood [in] Feminism at the movies: understanding gender in contemporary popular cinema. Feminism at the movies: understanding gender in contemporary popular cinema. Routledge.
[243]
Schubart, R. 2007. High Trash Heroines: Lara, Beatrix and Three Angels [in] Super bitches and action babes: the female hero in popular cinema, 1970-2006. Super bitches and action babes: the female hero in popular cinema, 1970-2006. McFarland & Co.
[244]
Schumacher, J. 1993. Falling down: a tale of urban reality. Warner Home Video.
[245]
Sconce, J. 2006. Smart Cinema [in] Contemporary American cinema. Contemporary American cinema. Open University Press.
[246]
Scott, R. 1979. Alien. Twentieth Century Fox Home Entertainment.
[247]
Scott, R. et al. 2010. Alien quadrilogy. Twentieth Century Fox Home Entertainment.
[248]
Scott, R. 2004. Thelma & Louise. MGM Home Entertainment.
[249]
Segal, L. 1999. Why feminism?: gender, psychology, politics. Columbia University Press.
[250]
Shankman, A. 2003. Bringing down the house. Touchstone Home Video.
[251]
Shapiro, L. 2009. Labor pains. Momentum Pictures.
[252]
Shapiro, L. 2009. Labor pains. Momentum Pictures.
[253]
Shiftman, L. and Lemish, D. 2012. Virtually blonde : blonde jokes in the global age and post–feminist discourse [in] The handbook of gender, sex, and media. The handbook of gender, sex, and media. Wiley-Blackwell.
[254]
Shyamalan, M.N. 2002. Signs. Buena Vista Home Entertainment, Inc.
[255]
Siri, F.E. 2005. Hostage.
[256]
Slade, D. 2005. Hard Candy.
[257]
Soderbergh, S. 1998. Out of Sight.
[258]
Spielberg, S. 2005. War of the worlds. Paramount Pictures.
[259]
Staiger, J. 2011. The First Bond Who Bleeds, Literally and Metaphorically: Gendered Spectatorship for "Pretty Boy” Action Movies [in] Feminism at the movies: understanding gender in contemporary popular cinema. Feminism at the movies: understanding gender in contemporary popular cinema. Routledge.
[260]
Stallone, S. 2006. Rocky Balboa.
[261]
Stasia, C.L. 2007. ”My Guns are in the Fendi!” The postfeminist Female Action Hero [in] Third wave feminism: a critical exploration. Third wave feminism: a critical exploration. Palgrave Macmillan.
[262]
Stern, M. 2010. Dudes, Bros, Boyfriends and Bugarrones: Redistributing the Stigma of Same-Sex Desire [in] Sprinkle: A Journal of Sexual Diversity Studies. Sprinkle : A Journal of Sexual Diversity Studies. (2010), 144–153.
[263]
Stone, A. 2007. An introduction to feminist philosophy. Polity.
[264]
Stone, A. 2012. Feminism, psychoanalysis, and maternal subjectivity. Routledge.
[265]
Stone, O. 2010. Wall Street. Twentieth Century Fox Home Entertainment.
[266]
Story, T. 2004. Taxi. 20th Century Fox.
[267]
Stott, A. 2005. Comedy. Routledge.
[268]
Stringer, R. 2011. From Victim to Vigilante: Gender, Violence and Revenge in The Brave One (2007) and Hard Candy (2005) [in] Feminism at the movies: understanding gender in contemporary popular cinema. Feminism at the movies: understanding gender in contemporary popular cinema. Routledge.
[269]
Stromberg, R. 2004. Maleficent. Walt Disney Studios Home Entertainment Z1A BUA0218201.
[270]
Stromberg, R. 2014. Maleficent. Disney.
[271]
Stuller, J.K. 2010. Ink-stained amazons and cinematic warriors: superwomen in modern mythology. I. B. Tauris.
[272]
Tally, M. 2008. Something’s gotta give : Hollywood, female sexuality, and the older bird chick flick [in] Chick flicks: contemporary women at the movies. Chick flicks: contemporary women at the movies. Routledge.
[273]
Tarantino, Q. 2004. Kill Bill: Volume 1. Buena Vista Home Entertainment.
[274]
Tarantino, Q. 2004. Kill Bill: Volume 2. Buena Vista Home Entertainment.
[275]
Tasker, Y. 2004. Action and adventure cinema. Routledge.
[276]
Tasker, Y. 2006. Chapter 21 - Fantasizing Gender and Race: Women in Contemporary US Action [in] Contemporary American cinema. Contemporary American cinema. Open University Press. 410–428.
[277]
Tasker, Y. 1993. Dumb Movies for Dumb People [in] Screening the male: exploring masculinities in Hollywood cinema. Screening the male: exploring masculinities in Hollywood cinema. Routledge.
[278]
Tasker, Y. 2011. Enchanted (2007) by postfeminism : gender, irony and the new romantic comedy [in] Feminism at the movies: understanding gender in contemporary popular cinema. Feminism at the movies: understanding gender in contemporary popular cinema. Routledge.
[279]
Tasker, Y. 2006. Fantasizing Gender and Race: Women in Contemporary US Action [in] Contemporary American cinema. Contemporary American cinema. Open University Press.
[280]
Tasker, Y. 1993. Spectacular bodies: gender, genre, and the action cinema. Routledge.
[281]
Tasker, Y. 2007. Violence, Duty and Choice: the Military Woman in Contemporary Hollywood Cinema [in] Women willing to fight: the fighting woman in film. Women willing to fight: the fighting woman in film. Cambridge Scholars Pub. 78–94.
[282]
Tasker, Y. 2010. Vision and Visibility: Women Filmmakers, Contemporary Authorship and Feminist Film Studies [in] Reclaiming the archive: feminism and film history. Reclaiming the archive: feminism and film history. Wayne State University Press.
[283]
Tasker, Y. and Negra, D. 2007. Bridget Jones and the new gender regime [in] Interrogating postfeminism: gender and the politics of popular culture. Interrogating postfeminism: gender and the politics of popular culture. Duke University Press.
[284]
Tasker, Y. and Negra, D. 2007. Interrogating postfeminism: gender and the politics of popular culture. Duke University Press.
[285]
Taylor, J.S. et al. 2004. Consuming motherhood. Rutgers University Press.
[286]
Taylor, T. and Dreamworks Pictures 2011. The help. Dreamworks II Distribution.
[287]
Tennant, A. 2005. Hitch. Sony Pictures Home Entertainment.
[288]
Thomas, B. 2007. John Tucker must die. Twentieth Century Fox Home Entertainment.
[289]
Thornham, S. 2007. ‘Narrating Femininity’ [in] Women, feminism and media. Edinburgh University Press.
[290]
Thornham, S. 2012. What if I had been the hero?: investigating women’s cinema. Palgrave Macmillan on behalf of the British Film Institute.
[291]
Thurber, R.M. 2005. Dodgeball: grab life by the balls. 20th Century Fox Home Entertainment.
[292]
Troyer, J. and Marchiselli, C. 2002. Slack, Slacker, Slackest: Homosocial Bomding in Contemporary Dude Cinema [in] The trouble with men: masculinities in European and Hollywood cinema. The trouble with men: masculinities in European and Hollywood cinema. Wallflower.
[293]
Tyler, I. et al. 2008. Commentary and criticism. Feminist Media Studies. 8, 1 (2008), 85–99. DOI:https://doi.org/10.1080/14680770801899226.
[294]
Vares, T. 2002. Framing ‘Killer Women’ Films: Audience Use of Genre. Feminist Media Studies. 2, 2 (2002), 213–229. DOI:https://doi.org/10.1080/14680770220150872.
[295]
Wain, D. 2008. Role Models. Universal Pictures UK.
[296]
Walby, S. 2011. Chapter 8: Alternative Futures [in] The future of feminism. The future of feminism. Polity.
[297]
Walby, S. 2011. The future of feminism. Polity.
[298]
Walter, N. 2011. Living dolls: the return of sexism. Virago.
[299]
Wang, W. 2002. Maid in Manhattan. Columbia.
[300]
Warner, H. 2013. A New Feminist Revolution in Hollywood Comedy’?:Postfeminist Discourses and the Critical Reception of Bridesmaids [in] Postfeminism and contemporary Hollywood cinema. Postfeminism and contemporary Hollywood cinema. J. Gwynne and N. Müller, eds. Palgrave Macmillan. 222–237.
[301]
Warner, J. 2006. Perfect madness: motherhood in the age of anxiety. Vermilion.
[302]
Waters, M.S. 2003. Freaky Friday. Disney DVD.
[303]
Waters, M.S. 2004. Mean girls. Paramount.
[304]
Wearing, S. 2007. Subjects of rejuvenation: Aging in Postfeminist Culture [in] Interrogating postfeminism: gender and the politics of popular culture. Interrogating postfeminism: gender and the politics of popular culture. Duke University Press.
[305]
Weiland, P. 2008. Made of honour. Sony Pictures Home Entertainment.
[306]
Weitz, P. 2013. Admission. Universal.
[307]
Weitz, P. 2013. Admission. Universal.
[308]
Weitz, P. 1999. American pie. Columbia Tristar Home Video.
[309]
Wells, J. 2013. August: Osage County.
[310]
Wells, J. 2010. The company men.
[311]
West, S. 2001. Lara Croft, tomb raider. Paramount.
[312]
Westfeldt, J. 2012. Friends with kids. Lionsgate Home Entertainment.
[313]
Westfeldt, J. 2012. Friends with kids. Lionsgate Home Entertainment.
[314]
Whelehan, I. 2010. Not to be Looked at: Older Women in Recent British Cinema [in] British women’s cinema. British women’s cinema. Routledge.
[315]
Whelehan, I. 2000. Overloaded: popular culture and the future of feminism. Women’s Press.
[316]
Where can the others meet? Gender, race and film comedy: 2004. http://sensesofcinema.com/2004/comedy-and-perception/where_can_others_meet/.
[317]
White, R. 2013. Women are angry! : Lizzie and Sarah as feminist critique. Feminist Media Studies. 13, 3 (2013), 415–426. DOI:https://doi.org/10.1080/14680777.2011.651732.
[318]
Williams, L. 1999. Film Bodies: Gender, Genre and Excess [in] Feminist film theory: a reader. Feminist film theory: a reader. Edinburgh University Press.
[319]
Williams, L.R. 2004. Ready for Action: G.I. Jane, Demi Moore’s Body and the Female Combat Movie [in] Action and adventure cinema. Action and adventure cinema. Routledge.
[320]
Willis, S. 1997. High contrast: race and gender in contemporary Hollywood film. Duke University Press.
[321]
Winch, A. 2012. We can have it all: the girlfriend flick. Feminist Media Studies. 12, 1 (2012), 69–82. DOI:https://doi.org/10.1080/14680777.2011.558349.
[322]
Winick, G. 2004. 13 going on 30. Columbia.
[323]
Winick, G. 2004. 13 going on 30. Columbia.
[324]
Winick, G. 2009. Bride Wars. 20th Century Fox.
[325]
Winick, G. 2009. Bride Wars. 20th Century Fox.
[326]
Wiseman, L. 2007. Die hard 4.0.
[327]
Wolf, F. 2009. House bunny. Sony Pictures Home Entertainment.
[328]
Wolf, N. 1991. The beauty myth: how images of beauty are used against women. Vintage.
[329]
Wolf, N. and Wolf, N. 1991. The beauty myth: how images of beauty are used against women. Vintage.
[330]
Woo, J. 2000. Mission: Impossible II.
[331]
Woodruff, B. 2005. Beauty shop. Metro-Goldwyn-Mayer.
[332]
Woodward, K.M. 1991. Aging and its discontents: Freud and other fictions. Indiana University Press.
[333]
Wu, A. 2004. Saving face. Sony Pictures.
[334]
Zackham, J. 2013. The big wedding. Lionsgate Home Entertainment UK.
[335]
Zemeckis, R. 2008. Beowulf. Warner Home Video.
[336]
Ziarek, E.P. 2011. Kinship and Racist Violence in Gina Prince-Blythewood’s The Secret Life of Bees (2008 [in] Feminism at the movies: understanding gender in contemporary popular cinema. Feminism at the movies: understanding gender in contemporary popular cinema. Routledge.
[337]
Zwick, J. 2002. My big fat Greek wedding. Entertainment in Video.
[338]
A Maternal Heart: Angelina Jolie, choices of maternity, and hegemonic femininity in People magazine: Feminist Media Studies: Vol 15, No 4.
[339]
2013. Hobbs, Alex: Romancing the Crone: Hollywood’s Recent Mature Love Stories. Journal of American Culture. 36, 1 (Mar. 2013), 42–51.
[340]
2008. ‘The more you look, the less you really know’: the redemption of white masculinity in contemporary American and French cinema. Cinema Journal. XLVII, 3 (2008), 29–47.
[341]
2008. ‘The more you look, the less you really know’: the redemption of white masculinity in contemporary American and French cinema. Cinema Journal. XLVII, 3 (2008), 29–47.
