[1]
K. Lima, ‘Enchanted’. 2008.
[2]
A. McRobbie, ‘Post-feminism and popular culture : Bridget Jones [in] The aftermath of feminism: gender, culture and social change’, in The aftermath of feminism: gender, culture and social change, London: SAGE, 2009 [Online]. Available: http://lib.myilibrary.com/browse/open.asp?id=496970&entityid=https://login.uea.ac.uk/entity
[3]
Y. Tasker, ‘Enchanted (2007) by postfeminism : gender, irony and the new romantic comedy [in] Feminism at the movies: understanding gender in contemporary popular cinema’, in Feminism at the movies: understanding gender in contemporary popular cinema, Oxon: Routledge, 2011 [Online]. Available: http://lib.myilibrary.com/Open.aspx?id=344197&src=0
[4]
R. Gill, ‘Post-postfeminism?: new feminist visibilities in postfeminist times’, Feminist Media Studies, vol. 16, no. 4, pp. 610–630, Jul. 2016, doi: 10.1080/14680777.2016.1193293.
[5]
C. Byerly, ‘The geography of women and media scholarship [in] The handbook of gender, sex, and media’, in The handbook of gender, sex, and media, vol. Handbooks in communication and media, Chichester: Wiley-Blackwell, 2012 [Online]. Available: http://lib.myilibrary.com/browse/open.asp?id=422805&entityid=https://login.uea.ac.uk/entity
[6]
S. Genz and B. A. Brabon, Postfeminism: cultural texts and theories. Edinburgh: Edinburgh University Press, 2009 [Online]. Available: http://uea.eblib.com/patron/FullRecord.aspx?p=448738
[7]
A. McRobbie, The aftermath of feminism: gender, culture and social change. London: SAGE, 2009 [Online]. Available: http://lib.myilibrary.com/browse/open.asp?id=496970&entityid=https://login.uea.ac.uk/entity
[8]
Y. Tasker and D. Negra, ‘Bridget Jones and the new gender regime [in] Interrogating postfeminism: gender and the politics of popular culture’, in Interrogating postfeminism: gender and the politics of popular culture, vol. Console-ing passions : television and cultural power, Durham, N.C.: Duke University Press, 2007 [Online]. Available: http://UEA.eblib.com/patron/FullRecord.aspx?p=1170497
[9]
K. Milestone and A. Meyer, Gender and popular culture. Cambridge: Polity, 2012.
[10]
T. Modleski, Feminism without women: culture and criticism in a postfeminist age. New York: Routledge, 1991.
[11]
D. Negra, What a girl wants: fantasizing the reclamation of self in postfeminism. Abingdon: Routledge, 2009 [Online]. Available: http://www.uea.eblib.com/EBLWeb/patron?target=patron&extendedid=P_432807_0&
[12]
H. Radner and R. Stringer, ‘Introduction: "Re-Vision?”: feminist film criticism in the twenty-first century [in] Feminism at the movies: understanding gender in contemporary popular cinema’, in Feminism at the movies: understanding gender in contemporary popular cinema, Oxon: Routledge, 2011 [Online]. Available: http://lib.myilibrary.com/browse/open.asp?id=344197&entityid=https://login.uea.ac.uk/entity
[13]
M. Rahman and S. Jackson, Gender and sexuality: sociological approaches. Cambridge: Polity, 2010.
[14]
C. Redfern and K. Aune, Reclaiming the F word: the new feminist movement. London: Zed Books, 2010 [Online]. Available: http://lib.myilibrary.com/browse/open.asp?id=273866&entityid=https://login.uea.ac.uk/entity
[15]
L. Segal, Why feminism?: gender, psychology, politics, vol. Gender and culture. New York: Columbia University Press, 1999.
[16]
L. Shiftman and D. Lemish, ‘Virtually blonde : blonde jokes in the global age and post–feminist discourse [in] The handbook of gender, sex, and media’, in The handbook of gender, sex, and media, vol. Handbooks in communication and media, Chichester: Wiley-Blackwell, 2012 [Online]. Available: http://lib.myilibrary.com/browse/open.asp?id=422805&entityid=https://login.uea.ac.uk/entity
[17]
A. Stone, An introduction to feminist philosophy. Cambridge: Polity, 2007.
[18]
Y. Tasker and D. Negra, Interrogating postfeminism: gender and the politics of popular culture, vol. Console-ing passions : television and cultural power. Durham, N.C.: Duke University Press, 2007 [Online]. Available: http://uea.eblib.com/patron/FullRecord.aspx?p=1170497
[19]
S. Thornham, What if I had been the hero?: investigating women’s cinema. London: Palgrave Macmillan on behalf of the British Film Institute, 2012.
[20]
S. Walby, The future of feminism. Cambridge: Polity, 2011 [Online]. Available: http://ebookcentral.proquest.com/lib/uea/detail.action?docID=1175963
[21]
N. Walter, Living dolls: the return of sexism. London: Virago, 2011.
[22]
I. Whelehan, Overloaded: popular culture and the future of feminism. London: Women’s Press, 2000.
[23]
N. Wolf and N. Wolf, The beauty myth: how images of beauty are used against women. London: Vintage, 1991.
[24]
A. Fletcher, ‘27 dresses’. 20th Century Fox Home Entertainment, [London?], 2008.
[25]
G. Winick, ‘13 going on 30’. Columbia, [s.l.], 2004.
[26]
J. Mangold, ‘Kate & Leopold’. Miramax, [s.l.], 2003.
[27]
A. Liddi-Brown, ‘Princess protection programme’. Disney DVD, [s.l.], 2009.
[28]
M. Rosman and D. Santostefano, ‘A Cinderella story: [and] Another Cinderella story; [and] A Cinderella story : once upon a song’. Warner Home Video, Burbank, Ca, 2012.
[29]
G. Marshall, ‘The princess diaries’. Walt Disney Home Video, [s.l.], 2002.
[30]
G. Marshall, ‘Princess diaries 2: royal engagement’. Walt Disney Home Video, [s.l.], 2005.
[31]
C. Buck and J. Lee, ‘Frozen’, vol. Disney classics. Disney, [Place of publication not identified], 2014.
[32]
T. O’Haver, ‘Ella enchanted’. Miramax, [s.l.], 2004.
[33]
G. Winick, ‘Bride Wars’. 20th Century Fox, [s.l.], 2009.
[34]
P. Weiland, ‘Made of honour’. Sony Pictures Home Entertainment, [s.l.], 2008.
[35]
N. Greno and B. Howard, ‘Tangled’. Disney DVD, [s.l.], 2010.
[36]
M. Andrews and B. Chapman, ‘Brave’. Disney/Pixar, [s.l.], 2012.
[37]
M. S. Waters, ‘Freaky Friday’. Disney DVD, [s.l.], 2003.
[38]
P. J. Hogan, ‘Confessions of a shopaholic’. Touchstone Home Entertainment, [s.l.], 2005.
[39]
C. Hanson, ‘In her shoes’. Twentieth Century Fox Home Entertainment, [s.l.], 2005.
[40]
R. Stromberg, ‘Maleficent’. Walt Disney Studios Home Entertainment Z1A BUA0218201, 2004 [Online]. Available: http://copac.jisc.ac.uk/search?title=maleficent&rn=4
[41]
K. Jones et al., ‘What to expect when you’re expecting’. Lionsgate Home Entertainment, [S.l.], 2012.
[42]
J. Butler, ‘"Women” as the subject of feminism [in] Gender trouble: feminism and the subversion of identity’, in Gender trouble: feminism and the subversion of identity, vol. Routledge classics, New York: Routledge, 2006 [Online]. Available: http://lib.myilibrary.com/browse/open.asp?id=344208&entityid=https://login.uea.ac.uk/entity
[43]
B. Kaklamanidou, ‘The baby crazed rom-com [in] Genre, gender and the effects of neoliberalism: the new millennium Hollywood rom com’, in Genre, gender and the effects of neoliberalism: the new millennium Hollywood rom com, vol. Popular culture and world politics, London: Routledge, 2013 [Online]. Available: http://lib.myilibrary.com/browse/open.asp?id=459206&entityid=https://login.uea.ac.uk/entity
[44]
T. Miller and T. Miller, ‘Cultural Scripts [in] Making sense of motherhood: a narrative approach’, in Making sense of motherhood: a narrative approach, Cambridge: Cambridge University Press, 2005.
[45]
H. Bradley, Gender, 2nd ed., vol. Key concepts series. Cambridge: Polity, 2013 [Online]. Available: http://lib.myilibrary.com/browse/open.asp?id=478135&entityid=https://login.uea.ac.uk/entity
[46]
P. Hill Collins, Black feminist thought: knowledge, consciousness, and the politics of empowerment, [2nd ed.]., vol. Routledge classics. New York: Routledge, 2009 [Online]. Available: http://lib.myilibrary.com/browse/open.asp?id=35502&entityid=https://login.uea.ac.uk/entity
[47]
S. J. Douglas and M. W. Michaels, The mommy myth: the idealization of motherhood and how it has undermined women. New York, N.Y.: Free Press, 2004.
[48]
R. Feasey, From happy homemaker to desperate housewives: motherhood and popular television. London: Anthem, 2012.
[49]
A. C. Hall and M. Bishop, Mommy angst: motherhood in American popular culture. Santa Barbara, Calif: Praeger, 2009.
[50]
J. Maher, ‘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’, in Feminism at the movies: understanding gender in contemporary popular cinema, Oxon: Routledge, 2011 [Online]. Available: http://lib.myilibrary.com/browse/open.asp?id=344197&entityid=https://login.uea.ac.uk/entity
[51]
T. Miller and T. Miller, Making sense of motherhood: a narrative approach. Cambridge: Cambridge University Press, 2005.
[52]
M. Orr, ‘Kristeva and the trans-missions of the intertext : signs, mothers and speaking in tongues [in] Third wave feminism: a critical exploration’, in Third wave feminism: a critical exploration, Expanded 2nd ed., Basingstoke: Palgrave Macmillan, 2007.
[53]
M. Rahman and S. Jackson, Gender and sexuality: sociological approaches. Cambridge: Polity, 2010.
[54]
A. Stone, Feminism, psychoanalysis, and maternal subjectivity, vol. Routledge studies in contemporary philosophy. New York: Routledge, 2012 [Online]. Available: http://lib.myilibrary.com/browse/open.asp?id=346198&entityid=https://login.uea.ac.uk/entity
[55]
J. S. Taylor, L. L. Layne, and D. F. Wozniak, Consuming motherhood. New Brunswick, N.J.: Rutgers University Press, 2004.
[56]
J. Warner, Perfect madness: motherhood in the age of anxiety. London: Vermilion, 2006.
[57]
L. Shapiro, ‘Labor pains’. Momentum Pictures, [S.l.], 2009.
[58]
P. Weitz, ‘Admission’. Universal, [S.l.], 2013.
[59]
A. Poul, ‘The back-up plan’. Sony Pictures Home Entertainment, [S.l.], 2011.
[60]
J. Gordon and W. Speck, ‘The switch’. Lions Gate Home Entertainment, [S.l.], 2011.
[61]
J. Apatow, ‘Knocked up’. Universal Pictures, [s.l.], 2007.
[62]
K. Jones, ‘What to expect when you’re expecting’. Lionsgate Home Entertainment, [S.l.], 2012.
[63]
A. Cuarón, ‘Gravity’. Warner Bros. Entertainment Inc, [Place of publication not identified], 2014.
[64]
J. Westfeldt, ‘Friends with kids’. Lionsgate Home Entertainment, [S.l.], 2012.
[65]
S. Levy, ‘Date night’. Twentieth Century Fox Home Entertainment, [S.l.], 2010.
[66]
B. Bird, ‘The Incredibles’. Disney/Pixar, [s.l.], 2005.
[67]
K. Dieckmann, ‘Motherhood’. Metrodome, [S.l.], 2010.
[68]
J. Reitman, ‘Juno’. 20th Century Fox Home Entertainment, [S.l.], 2008.
[69]
G. Berlanti, ‘Life as we know it’. Warner Home Entertainment, [S.l.], 2011.
[70]
L. Ramsay, ‘We need to talk about Kevin’. Artificial Eye, [London], 2012.
[71]
J. Apatow, ‘This Is 40’. 2012 [Online]. Available: https://learningonscreen.ac.uk/ondemand/index.php/prog/05F34BF4?bcast=122012834
[72]
Lawrence, ‘Hunger games: complete 4-film collection’. .
[73]
M. O’Day, ‘Chapter 12 : Beauty in Motion: Gender, Spectacle and Action Babe Cinema [in] Action and adventure cinema’, in Action and adventure cinema, London: Routledge, 2004 [Online]. Available: http://lib.myilibrary.com/browse/open.asp?id=10275&entityid=https://login.uea.ac.uk/entity
[74]
R. E. Dubrofsky and E. D. Ryalls, : ‘Performing Not-performing to Authenticate Femininity and Whiteness’, Critical Studies in Media Communication, vol. 31, no. 5, pp. 395–409, Oct. 2014, doi: 10.1080/15295036.2013.874038.
[75]
P. Kirby, ‘The Girl on Fire: The Hunger Games, Feminist Geopolitics and the Contemporary Female Action Hero’, Geopolitics, vol. 20, no. 2, pp. 460–478, Apr. 2015, doi: 10.1080/14650045.2014.984835.
[76]
K. Gilpatric, ‘Violent Female Action Characters in Contemporary American Cinema’, Sex Roles, vol. 62, no. 11–12, pp. 734–746, 2010, doi: 10.1007/s11199-010-9757-7.
[77]
J. Arroyo, Action/spectacle cinema: a Sight and sound reader. London: British Film Institute, 1999.
[78]
Jeffrey A. Brown, ‘Gender and the Action Heroine: Hardbodies and the “Point of No Return”’, Cinema Journal, vol. 35, no. 3, pp. 52–71, 1996 [Online]. Available: https://uea.idm.oclc.org/login?url=http://www.jstor.org/stable/1225765?seq=1#page_scan_tab_contents
[79]
S. Chaudhuri, Feminist film theorists: Laura Mulvey, Kaja Silverman, Teresa de Lauretis, Barbara Creed, vol. Routledge critical thinkers. London: Routledge, 2006 [Online]. Available: http://uea.eblib.com/patron/FullRecord.aspx?p=274415
[80]
P. Cook, ‘No Fixed Address: The Women’s Picture From Outrage to Blue Steel [in] Contemporary Hollywood cinema’, in Contemporary Hollywood cinema, London: Routledge, 1998.
[81]
L. Coulthard, ‘Killing Bill: Rethinking Feminism and Film Violence [in] Interrogating postfeminism: gender and the politics of popular culture’, in Interrogating postfeminism: gender and the politics of popular culture, vol. Console-ing passions : television and cultural power, Durham, N.C.: Duke University Press, 2007 [Online]. Available: http://uea.eblib.com/patron/FullRecord.aspx?p=1170497
[82]
J. Goodwill, The new female action hero: an analysis of female masculinity in the new female action hero in recent films and television shows. [S.l.]: Brave New World Publishing, 2011.
[83]
L. Hart, Fatal women: lesbian sexuality and the mark of aggression. London: Routledge, 1994 [Online]. Available: http://lib.myilibrary.com/browse/open.asp?id=14490&entityid=https://login.uea.ac.uk/entity
[84]
E. Hills, ‘From "figurative males” to action heroines: further thoughts on active women in the cinema’, Screen, vol. 40, no. 1, pp. 38–50, 1999 [Online]. Available: http://screen.oxfordjournals.org/content/40/1.toc
[85]
T. Horeck, Public rape: representing violation in fiction and film, vol. Sussex studies in culture and communication. London: Routledge, 2003 [Online]. Available: http://uea.eblib.com/patron/FullRecord.aspx?p=1144705
[86]
S. A. Inness, Tough girls: women warriors and wonder women in popular culture, vol. Feminist cultural studies, the media, and political culture. Philadelphia, Pa: University of Pennsylvania Press, 1999.
[87]
S. A. Inness, Action chicks: new images of tough women in popular culture, 1st ed. Basingstoke: Palgrave Macmillan, 2004 [Online]. Available: http://lib.myilibrary.com/browse/open.asp?id=136484&entityid=https://login.uea.ac.uk/entity
[88]
D. Jermyn, ‘Rereading the Bitches from Hell: A Feminist Appropriation of the Female Psychopath’, Screen, vol. 37, no. 3, pp. 251–267 [Online]. Available: http://screen.oxfordjournals.org/content/37/3.toc
[89]
E. Lichtenfeld, Action speaks louder: violence, spectacle, and the American action movie. Westport, Conn: Praeger, 2004.
[90]
H. Neroni, The violent woman: femininity, narrative, and violence in contemporary American cinema, vol. SUNY series in feminist criticism and theory. Albany, N.Y.: State University of New York Press, 2005.
[91]
L. Purse, Contemporary action cinema. Edinburgh: Edinburgh University Press, 2011.
[92]
J. Read, The new avengers: feminism, femininity, and the rape-revenge cycle, vol. Inside popular film. Manchester: Manchester University Press, 2000.
[93]
C. L. Stasia, ‘”My Guns are in the Fendi!” The postfeminist Female Action Hero [in] Third wave feminism: a critical exploration’, in Third wave feminism: a critical exploration, Expanded 2nd ed., Basingstoke: Palgrave Macmillan, 2007.
[94]
R. Schubart, ‘High Trash Heroines: Lara, Beatrix and Three Angels [in] Super bitches and action babes: the female hero in popular cinema, 1970-2006’, in Super bitches and action babes: the female hero in popular cinema, 1970-2006, Jefferson, N.C.: McFarland & Co, 2007 [Online]. Available: http://uea.eblib.com/patron/FullRecord.aspx?p=1771629
[95]
R. Stringer, ‘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’, in Feminism at the movies: understanding gender in contemporary popular cinema, Oxon: Routledge, 2011 [Online]. Available: http://lib.myilibrary.com/browse/open.asp?id=344197&entityid=https://login.uea.ac.uk/entity
[96]
J. K. Stuller, Ink-stained amazons and cinematic warriors: superwomen in modern mythology. London: I. B. Tauris, 2010 [Online]. Available: http://lib.myilibrary.com/browse/open.asp?id=288131&entityid=https://login.uea.ac.uk/entity
[97]
Y. Tasker, Spectacular bodies: gender, genre, and the action cinema, vol. Comedia. London: Routledge, 1993 [Online]. Available: http://www.uea.eblib.com/patron/FullRecord.aspx?p=179873
[98]
Y. Tasker, Action and adventure cinema. London: Routledge, 2004 [Online]. Available: http://lib.myilibrary.com/browse/open.asp?id=10275&entityid=https://login.uea.ac.uk/entity
[99]
Y. Tasker, ‘Chapter 21 - Fantasizing Gender and Race: Women in Contemporary US Action [in] Contemporary American cinema’, in Contemporary American cinema, London: Open University Press, 2006, pp. 410–428 [Online]. Available: http://www.uea.eblib.com/patron/FullRecord.aspx?p=295533
[100]
Y. Tasker, ‘Violence, Duty and Choice: the Military Woman in Contemporary Hollywood Cinema [in] Women willing to fight: the fighting woman in film’, in Women willing to fight: the fighting woman in film, Newcastle: Cambridge Scholars Pub, 2007, pp. 78–94.
[101]
L. Williams, ‘Film Bodies: Gender, Genre and Excess [in] Feminist film theory: a reader’, in Feminist film theory: a reader, Edinburgh: Edinburgh University Press, 1999.
[102]
L. R. Williams, ‘Ready for Action: G.I. Jane, Demi Moore’s Body and the Female Combat Movie [in] Action and adventure cinema’, in Action and adventure cinema, London: Routledge, 2004 [Online]. Available: http://lib.myilibrary.com/browse/open.asp?id=10275&entityid=https://login.uea.ac.uk/entity
[103]
T. Vares, ‘Framing “Killer Women” Films: Audience Use of Genre’, Feminist Media Studies, vol. 2, no. 2, pp. 213–229, 2002, doi: 10.1080/14680770220150872.
[104]
Q. Tarantino, ‘Kill Bill: Volume 1’. Buena Vista Home Entertainment, [s.l.], 2004.
[105]
Q. Tarantino, ‘Kill Bill: Volume 2’. Buena Vista Home Entertainment, [s.l.], 2004.
[106]
McG, ‘Charlie’s angels’. Columbia TriStar Home Entertainment, London, 2001.
[107]
S. West, ‘Lara Croft, tomb raider’. Paramount, [s.l.], 2001.
[108]
R. Zemeckis, ‘Beowulf’. Warner Home Video, [s.l.], 2008.
[109]
D. Liman, ‘Mr & Mrs Smith’. Film4, 2005 [Online]. Available: https://learningonscreen.ac.uk/ondemand/index.php/prog/02F3DA70?bcast=122879028
[110]
Pitof, ‘Catwoman’. Warner Home Video, [s.l.], 2005.
[111]
R. Harlin, ‘The long kiss goodnight’. Entertainment in Video, [s.l.], 2004.
[112]
S. Soderbergh, ‘Out of Sight’. 1998 [Online]. Available: https://learningonscreen.ac.uk/ondemand/index.php/prog/004BD3E0?bcast=116810639
[113]
R. Scott, ‘Alien’. Twentieth Century Fox Home Entertainment, 1979.
[114]
J. Cameron, ‘Aliens’. 1986.
[115]
D. Fincher, ‘Alien 3’. 1992.
[116]
J.-P. Jeunet, ‘Alien resurrection’. 1997.
[117]
R. Scott, J. Cameron, D. Fincher, and J.-P. Jeunet, ‘Alien quadrilogy’. Twentieth Century Fox Home Entertainment, [S.l.], 2010.
[118]
M. Apted, ‘Enough’. Columbia Tristar, [s.l.], 2006.
[119]
A. Lyne, ‘Fatal attraction’. Paramount Home Entertainment, [s.l.], 2002.
[120]
R. Scott, ‘Thelma & Louise’. MGM Home Entertainment, [s.l.], 2004.
[121]
D. Slade, ‘Hard Candy’. 2005 [Online]. Available: https://learningonscreen.ac.uk/ondemand/index.php/prog/012804D0?bcast=111954177
[122]
G. Ross, ‘The Hunger Games’. 2012 [Online]. Available: https://learningonscreen.ac.uk/ondemand/index.php/prog/02E3193E?bcast=123285655
[123]
N. Burger, ‘Divergent’. Summit Entertainment, Santa Monica, California, 2014.
[124]
P. Feig, ‘Bridesmaids’. 2011.
[125]
R. Kathleen, ‘Pig ladies, big ladies, and ladies with big mouths: Feminism and the carnivalesque [in] The unruly woman: gender and the genres of laughter’, in The unruly woman: gender and the genres of laughter, 1st ed., vol. Texas film studies series, Austin, Tex: University of Texas Press, 1995, pp. 25–49 [Online]. Available: http://www.loc.gov/catdir/description/texas041/94013656.html
[126]
A. Winch, ‘We can have it all: the girlfriend flick’, Feminist Media Studies, vol. 12, no. 1, pp. 69–82, 2012, doi: 10.1080/14680777.2011.558349.
[127]
H. Warner, ‘A New Feminist Revolution in Hollywood Comedy’?:Postfeminist Discourses and the Critical Reception of Bridesmaids [in] Postfeminism and contemporary Hollywood cinema’, in Postfeminism and contemporary Hollywood cinema, J. Gwynne and N. Müller, Eds. New York: Palgrave Macmillan, 2013, pp. 222–237 [Online]. Available: http://search.ebscohost.com/login.aspx?direct=true&db=nlebk&AN=622495&authtype=sso&custid=s8993828&site=ehost-live&scope=site
[128]
R. Barreca, New perspectives on women and comedy, vol. Studies in gender and culture. Philadelphia: GHordon and Breach, 1992.
[129]
K. Boyle and S. Berridge, ‘I love you, man’, Feminist Media Studies, vol. 14, no. 3, pp. 353–368, 2014, doi: 10.1080/14680777.2012.740494.
[130]
G. Finney, Look who’s laughing: gender and comedy, vol. Studies in humor and gender. Langhorne, Pa: Gordon and Breach, 1994.
[131]
I.-L. K. Bore, ‘(Un)funny women: TV comedy audiences and the gendering of humour’, European Journal of Cultural Studies, vol. 13, 2010, doi: 10.1177/1367549409352272. [Online]. Available: https://uea.idm.oclc.org/login?url=http://ecs.sagepub.com/content/13/2.toc
[132]
G. King, Film comedy. London: Wallflower, 2002.
[133]
H. Kotthoff, ‘Gender and joking: on the complexities of women’s image politics in humorous narratives’, Journal of Pragmatics, vol. 32, no. 1, pp. 55–80, 2000, doi: 10.1016/S0378-2166(99)00031-4.
[134]
H. Kotthoff, ‘Gender and humor: the state of the art’, Journal of Pragmatics, vol. 38, no. 1, pp. 4–25, 2006, doi: 10.1016/j.pragma.2005.06.003.
[135]
M. Lauzen, ‘The funny business of being Tina Fey: constructing a (feminist) comedy icon’, Feminist Media Studies, vol. 14, no. 1, pp. 106–117, 2014, doi: 10.1080/14680777.2012.740060.
[136]
N. Matthews, Comic politics: gender in Hollywood comedy after the new right. Manchester: Manchester University Press, 2000.
[137]
C. Mortimer, Romantic comedy, vol. Routledge film guidebooks. London: Routledge, 2010 [Online]. Available: http://lib.myilibrary.com/browse/open.asp?id=258635&entityid=https://login.uea.ac.uk/entity
[138]
M. Richardson, ‘Where can the others meet? Gender, race and film comedy’, 2004. [Online]. Available: http://sensesofcinema.com/2004/comedy-and-perception/where_can_others_meet/
[139]
K. R. Karlyn, The unruly woman: gender and the genres of laughter, 1st ed., vol. Texas film studies series. Austin, Tex: University of Texas Press, 1995 [Online]. Available: http://www.loc.gov/catdir/description/texas041/94013656.html
[140]
K. R. Karlyn, Unruly girls, unrepentant mothers: redefining feminism on screen, 1st ed. Austin: University of Texas Press, 2011 [Online]. Available: http://search.ebscohost.com/login.aspx?direct=true&db=nlebk&AN=351591&authtype=sso&custid=s8993828&site=ehost-live&scope=site
[141]
M. D. Rubinfeld and M. D. Rubinfield, Bound to bond: gender, genre, and the Hollywood romantic comedy. Westport, Conn: Praeger, 2001.
[142]
‘A world ruled by hilarity: gender and low comedy in the films of Amy Heckerling [in] Senses of Cinema’. [Online]. Available: http://sensesofcinema.com/2002/filmmaker-profiles/heckerling/
[143]
R. White, ‘Women are angry! : Lizzie and Sarah as feminist critique’, Feminist Media Studies, vol. 13, no. 3, pp. 415–426, 2013, doi: 10.1080/14680777.2011.651732.
[144]
I. Tyler, R. Coleman, and D. Ferreday, ‘Commentary and criticism’, Feminist Media Studies, vol. 8, no. 1, pp. 85–99, 2008, doi: 10.1080/14680770801899226.
[145]
W. Gluck, ‘Easy A’. Sony Pictures Home Entertainment, London, 2011.
[146]
J. Kasdan, ‘Bad teacher’. Sony Pictures Home Entertainment, [Place of publication not identified], 2011.
[147]
F. Wolf, ‘House bunny’. Sony Pictures Home Entertainment, [S.l.], 2009.
[148]
M. S. Waters, ‘Mean girls’. Paramount, [S.l.], 2004.
[149]
C. Herman-Wurmfeld, ‘Legally blonde 2’. MGM Home Entertainment, [London?], 2003.
[150]
R. Luketic, ‘Legally blonde’. MGM Home Entertainment, [London?], 2002.
[151]
J. Reitman, ‘Juno’. 20th Century Fox Home Entertainment, [S.l.], 2008.
[152]
J. Westfeldt, ‘Friends with kids’. Lionsgate Home Entertainment, [S.l.], 2012.
[153]
K. Jones, ‘What to expect when you’re expecting’. Lionsgate Home Entertainment, [S.l.], 2012.
[154]
J. Apatow, ‘Knocked up’. Universal Pictures, [s.l.], 2007.
[155]
K. Dieckmann, ‘Motherhood’. Metrodome, [S.l.], 2010.
[156]
A. Poul, ‘The back-up plan’. Sony Pictures Home Entertainment, [S.l.], 2011.
[157]
P. Weitz, ‘Admission’. Universal, [S.l.], 2013.
[158]
L. Shapiro, ‘Labor pains’. Momentum Pictures, [S.l.], 2009.
[159]
G. Winick, ‘Bride Wars’. 20th Century Fox, [s.l.], 2009.
[160]
G. Winick, ‘13 going on 30’. Columbia, [s.l.], 2004.
[161]
A. Fletcher, ‘27 dresses’. 20th Century Fox Home Entertainment, [London?], 2008.
[162]
P. J. Hogan, ‘Confessions of a shopaholic’. Touchstone Home Entertainment, [s.l.], 2005.
[163]
C. Hanson, ‘In her shoes’. Twentieth Century Fox Home Entertainment, [s.l.], 2005.
[164]
B. Thomas, ‘John Tucker must die’. Twentieth Century Fox Home Entertainment, [S.l.], 2007.
[165]
J. Nussbaum, ‘Sydney White’. Universal Pictures, [S.l.], 2008.
[166]
R. Kumble, ‘Just friends’. Momentum Pictures, [S.l.], 2006.
[167]
Kusama, Jennifer’s body. [Online]. Available: https://learningonscreen.ac.uk/ondemand/index.php/prog/017777E1?bcast=123261869
[168]
S. Chaudhuri, ‘“Monstrous-Feminine” [in] Feminist film theorists: Laura Mulvey, Kaja Silverman, Teresa de Lauretis, Barbara Creed’, in Feminist film theorists: Laura Mulvey, Kaja Silverman, Teresa de Lauretis, Barbara Creed, vol. Routledge critical thinkers, London: Routledge, 2006 [Online]. Available: http://UEA.eblib.com/patron/FullRecord.aspx?p=274415
[169]
Creed, Barbara, ‘HORROR AND THE MONSTROUS-FEMININE: AN IMAGINARY ABJECTION.’, Screen; Jan/Feb86, Vol, vol. 27, no. Issue 1, p44-70, 27p, pp. 44–70 [Online]. Available: http://search.ebscohost.com/login.aspx?direct=true&db=edb&AN=31426388&authtype=sso&custid=s8993828&site=ehost-live
[170]
B. K. Grant, Ed., ‘Linda Williams, When the Woman Looks [in] The dread of difference: gender and the horror film’, in The dread of difference: gender and the horror film, 2nd ed., vol. Texas film studies series, Austin: University of Texas Press, 2015 [Online]. Available: http://ebookcentral.proquest.com/lib/uea/detail.action?docID=3571889
[171]
R. Stromberg, Maleficent, vol. Disney DVD. [Place of publication not identified]: Disney, 2014.
[172]
R. Dyer and P. McDonald, ‘Stars as Social Phenomenon’ [in] Stars, New ed. London: BFI Pub, 1998.
[173]
‘A Maternal Heart: Angelina Jolie, choices of maternity, and hegemonic femininity in People magazine: Feminist Media Studies: Vol 15, No 4’ [Online]. Available: http://www.tandfonline.com/doi/full/10.1080/14680777.2015.1009929
[174]
S. Thornham, ‘Narrating Femininity’ [in] Women, feminism and media, vol. Media topics. Edinburgh: Edinburgh University Press, 2007 [Online]. Available: http://ebookcentral.proquest.com/lib/uea/detail.action?docID=1962331
[175]
S. Hamri, ‘Just Wright’. 2010.
[176]
K. Bowdre, ‘Romantic Comedies and the Raced Body [in] Falling in love again: romantic comedy in contemporary cinema’, in Falling in love again: romantic comedy in contemporary cinema, London: I. B. Tauris, 2009 [Online]. Available: http://lib.myilibrary.com/browse/open.asp?id=261914&entityid=https://login.uea.ac.uk/entity
[177]
K. Hollinger, ‘“Feminist Film Studies and Race” [in] Feminist film studies’, in Feminist film studies, Routledge, 2012 [Online]. Available: http://lib.myilibrary.com/browse/open.asp?id=389764&entityid=https://login.uea.ac.uk/entity
[178]
bell hooks, ‘The Oppositional Gaze: Black Female Spectators’ [in] Feminist film theory: a reader. Edinburgh: Edinburgh University Press, 1999.
[179]
H. M. Benshoff and S. Griffin, America on film: representing race, class, gender, and sexuality at the movies, 2nd ed. Malden, MA, USA: Wiley-Blackwell, 2009 [Online]. Available: http://www.uea.eblib.com/patron/FullRecord.aspx?p=819377
[180]
M. Beltran, ‘Mas Macha: The New Latina American Action Hero [in] Action and adventure cinema’, in Action and adventure cinema, London: Routledge, 2004 [Online]. Available: http://lib.myilibrary.com/browse/open.asp?id=10275&entityid=https://login.uea.ac.uk/entity
[181]
D. Bernardi, The persistence of whiteness: race and contemporary Hollywood cinema. Abingdon: Routledge, 2008 [Online]. Available: http://www.loc.gov/catdir/toc/ecip0712/2007008736.html
[182]
J. Davies, C. R. Smith, and British Association for American Studies, Gender, ethnicity and sexuality in contemporary American film, vol. BAAS paperbacks. Keele: Keele University Press [in association with the British Association for American Studies], 1997.
[183]
R. Dyer, White. London: Routledge, 1997.
[184]
L. D. Friedman, Unspeakable images: ethnicity and the American cinema. Urbana: University of Illinois Press, 1991.
[185]
J. Gaines, ‘White Privilege and Looking Relations : Race and Gender in Feminist Film Theory [in] Feminist film theory: a reader’, in Feminist film theory: a reader, Edinburgh: Edinburgh University Press, 1999.
[186]
B. Hooks, ‘The Oppositional Gaze: Black Female Spectators [in] Feminist film theory: a reader’, in Feminist film theory: a reader, Edinburgh: Edinburgh University Press, 1999.
[187]
E. A. Kaplan, Looking for the other: feminism, film, and the imperial gaze. New York: Routledge, 1997 [Online]. Available: http://uea.eblib.com/patron/FullRecord.aspx?p=1024672
[188]
D. J. Leonard, Screens fade to black: contemporary African American cinema. Westport, CT: Praeger Publishers, 2006.
[189]
M. Mendible, From bananas to buttocks: the Latina body in popular film and culture. Austin, Tex: University of Texas Press, 2007.
[190]
T. Modleski, ‘Cinema and the Dark Continent: Race and Gender in Popular Film [in] Feminist film theory: a reader’, in Feminist film theory: a reader, Edinburgh: Edinburgh University Press, 1999.
[191]
E. P. Ziarek, ‘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’, in Feminism at the movies: understanding gender in contemporary popular cinema, Oxon: Routledge, 2011 [Online]. Available: http://lib.myilibrary.com/browse/open.asp?id=344197&entityid=https://login.uea.ac.uk/entity
[192]
Y. Tasker, ‘Fantasizing Gender and Race: Women in Contemporary US Action [in] Contemporary American cinema’, in Contemporary American cinema, London: Open University Press, 2006 [Online]. Available: http://www.uea.eblib.com/patron/FullRecord.aspx?p=295533
[193]
J. van Ginneken, Screening difference: how Hollywood’s blockbuster films imagine race, ethnicity, and culture. Lanham: Rowman & Littlefield, 2007.
[194]
S. Willis, High contrast: race and gender in contemporary Hollywood film. Durham, N.C.: Duke University Press, 1997.
[195]
A. Shankman, ‘Bringing down the house’. Touchstone Home Video, [s.l.], 2003.
[196]
M. Brest, ‘Gigli’. Columbia Tristar Home Entertainment, [S.l.], 2003.
[197]
M. Forster, ‘Monster’s ball’. Entertainment in Video, [s.l.], 2001.
[198]
P. Haggis, ‘Crash’. Pathé, [s.l.], 2004.
[199]
J. Zwick, ‘My big fat Greek wedding’. Entertainment in Video, [s.l.], 2002.
[200]
A. Wu, ‘Saving face’. Sony Pictures, London, 2004.
[201]
S. Hamri, ‘Something new’. Universal, [s.l.], 2006.
[202]
T. Story, ‘Taxi’. 20th Century Fox, [s.l.], 2004.
[203]
B. Woodruff, ‘Beauty shop’. Metro-Goldwyn-Mayer, [s.l.], 2005.
[204]
W. Wang, ‘Maid in Manhattan’. Columbia, [s.l.], 2002.
[205]
T. Taylor and Dreamworks Pictures, ‘The help’. Dreamworks II Distribution, [S.l.], 2011.
[206]
G. Prince-Bythewood, ‘Love & basketball’. Entertainment in Video, [S.l.], 2000.
[207]
P. Cardoso, ‘Real women have curves’. [s.l.], 2002.
[208]
K. Kusama, ‘Girlfight’. Columbia TriStar Home Entertainment, [s.l.], 2000.
[209]
N. Meyers, ‘It’s complicated’. 2009.
[210]
H. Radner, ‘Something’s Gotta Give (2003): Nancy Meyers, Neo-Feminist Auteur [in] Neo-feminist cinema: girly films, chick flicks and consumer culture’, in Neo-feminist cinema: girly films, chick flicks and consumer culture, New York: Routledge, 2011 [Online]. Available: http://lib.myilibrary.com/browse/open.asp?id=304494&entityid=https://login.uea.ac.uk/entity
[211]
S. Wearing, ‘Subjects of rejuvenation: Aging in Postfeminist Culture [in] Interrogating postfeminism: gender and the politics of popular culture’, in Interrogating postfeminism: gender and the politics of popular culture, vol. Console-ing passions : television and cultural power, Durham, N.C.: Duke University Press, 2007 [Online]. Available: http://uea.eblib.com/patron/FullRecord.aspx?p=1170497
[212]
‘Hobbs, Alex: Romancing the Crone: Hollywood’s Recent Mature Love Stories’, Journal of American Culture, vol. 36, no. 1, pp. 42–51, Mar. 2013 [Online]. Available: https://uea.idm.oclc.org/login?url=http://gateway.proquest.com/openurl?ctx_ver=Z39.88-2003&xri:pqil:res_ver=0.2&res_id=xri:lion&rft_id=xri:lion:ft:abell:R05097315:0&rft.accountid=10637
[213]
R. Garrett, Postmodern chick flicks: the return of the woman’s film. Basingstoke: Palgrave Macmillan, 2007.
[214]
B. Kaklamanidou, Genre, gender and the effects of neoliberalism: the new millennium Hollywood rom com, vol. Popular culture and world politics. London: Routledge, 2013 [Online]. Available: http://lib.myilibrary.com/browse/open.asp?id=459206&entityid=https://login.uea.ac.uk/entity
[215]
M. Minaya, ‘Actresses fight ageism in entertainment [in] Digital Spy’, 2010. [Online]. Available: http://www.digitalspy.com/movies/news/a222599/actresses-fight-ageism-in-entertainment/
[216]
M. Rahman and S. Jackson, Gender and sexuality: sociological approaches. Cambridge: Polity, 2010.
[217]
R. Schaap, ‘No Country for Old Women: Gendering Cinema in Conglomerate Hollywood [in] Feminism at the movies: understanding gender in contemporary popular cinema’, in Feminism at the movies: understanding gender in contemporary popular cinema, Oxon: Routledge, 2011 [Online]. Available: http://lib.myilibrary.com/browse/open.asp?id=344197&entityid=https://login.uea.ac.uk/entity
[218]
A. Singh, ‘Scarlett Johansson: Women actresses are victims of Hollywood ageism - Telegraph’, 2008. [Online]. Available: http://www.telegraph.co.uk/news/celebritynews/2547469/Scarlett-Johansson-Women-actresses-are-victims-of-Hollywood-ageism.html
[219]
M. Tally, ‘Something’s gotta give : Hollywood, female sexuality, and the older bird chick flick [in] Chick flicks: contemporary women at the movies’, in Chick flicks: contemporary women at the movies, New York: Routledge, 2008 [Online]. Available: http://lib.myilibrary.com/browse/open.asp?id=125986&entityid=https://login.uea.ac.uk/entity
[220]
Y. Tasker, ‘Vision and Visibility: Women Filmmakers, Contemporary Authorship and Feminist Film Studies [in] Reclaiming the archive: feminism and film history’, in Reclaiming the archive: feminism and film history, vol. Contemporary approaches to film and television series, Detroit, Mich: Wayne State University Press, 2010.
[221]
I. Whelehan, ‘Not to be Looked at: Older Women in Recent British Cinema [in] British women’s cinema’, in British women’s cinema, vol. British popular cinema, London: Routledge, 2010 [Online]. Available: http://lib.myilibrary.com/browse/open.asp?id=231531&entityid=https://login.uea.ac.uk/entity
[222]
N. Wolf, The beauty myth: how images of beauty are used against women. London: Vintage, 1991.
[223]
K. M. Woodward, Aging and its discontents: Freud and other fictions, vol. Theories of contemporary culture. Bloomington: Indiana University Press, 1991.
[224]
M. P. King, ‘Sex and the city: the movie’. New Line Cinema, [s.l.], 2008.
[225]
N. Meyers, ‘Something’s gotta give’. Warner Home Video, [s.l.], 2004.
[226]
P. Lloyd, Universal Pictures Corporation, and Universal Pictures (UK), ‘Mamma mia!’ Universal Pictures (UK), [S.l.], 2008.
[227]
R. Luketic, ‘Monster-in-Law’. Entertainment in Video, [s.l.], 2005.
[228]
N. Meyers, ‘The holiday’. Universal, [s.l.], 2007.
[229]
N. Meyers, ‘The parent trap’. Walt Disney Home Video, [S.l.], 1998.
[230]
N. Meyers, ‘What women want’. Icon Home Entertainment, [s.l.], 2001.
[231]
T. Bezucha, ‘The family stone’. Twentieth Century Fox Home Entertainment, [S.l.], 2008.
[232]
V. Di Meglio and Inferno Distribution (Firm), ‘Smother’. Optimum Home Entertainment, [S.l.], 2007.
[233]
M. Lehmann and Gold Circle Films, ‘Because I said so’. Entertainment in Video, [S.l.], 2007.
[234]
T. Hamilton et al., ‘Mama’s boy’. BAC Video, [France], 2007.
[235]
J. Zackham, ‘The big wedding’. Lionsgate Home Entertainment UK, [S.l.], 2013.
[236]
J. Apatow, ‘This Is 40’. 2012 [Online]. Available: https://learningonscreen.ac.uk/ondemand/index.php/prog/05F34BF4?bcast=122012834
[237]
J. Wells, August: Osage County. 2013 [Online]. Available: https://learningonscreen.ac.uk/ondemand/index.php/prog/068B75AE?bcast=123137895
[238]
J. Hamburg, ‘I love you man’. Paramount Home Entertainment, [s.l.], 2009.
[239]
J. Alberti, ‘"I Love You, Man”: Bromances, the Construction of Masculinity, and the Continuing Evolution of the Romantic Comedy’, Quarterly Review of Film and Video, vol. 30, no. 2, pp. 159–172, 2013 [Online]. Available: https://uea.idm.oclc.org/login?url=http://ejournals.ebsco.com/Issue.asp?IssueID=1614966
[240]
S. Berridge and K. Boyle, ‘I love you man: Gendered narratives of friendship in contemporary Hollywood comedies’, Feminist Media Studies, vol. 14, no. 3, pp. 353–368, 2012 [Online]. Available: https://uea.idm.oclc.org/login?url=http://www.tandfonline.com/openurl/toc/rfms20/14/3
[241]
S. Bordo, ‘Gentleman or Beast?: The Double Bind of Masculinity’ [in] The male body: a new look at men in public and in private, 1st ed. New York: Farrar, Straus and Giroux, 1999.
[242]
M. Billig and Nottingham Trent University. TCS Centre, Laughter and ridicule: towards a social critique of laughter, vol. Theory, culture&society. London: Sage in association with Theory, Culture & Society, Nottingham Trent University, 2005.
[243]
S. Bordo, ‘Gentleman or Beast? The Double Bind of Masculinity [in] The male body: a new look at men in public and in private’, in The male body: a new look at men in public and in private, 1st ed., New York: Farrar, Straus and Giroux, 1999.
[244]
C. Colebrook, Irony, vol. The new critical idiom. London: Routledge, 2004 [Online]. Available: http://lib.myilibrary.com/browse/open.asp?id=5123&entityid=https://login.uea.ac.uk/entity
[245]
J. Gilbert, ‘Performing Marginality: Comedy, Identity and Cutural Critique [in] Text and Performance Quarterly’, Text and Performance Quarterly, vol. 17, no. 4, pp. 317–330, 1997 [Online]. Available: https://uea.idm.oclc.org/login?url=http://www.tandfonline.com/toc/rtpq20/17/4
[246]
A. Horton, Comedy/cinema/theory. Berkeley: University of California Press, 1991.
[247]
L. Hutcheon, Irony’s edge: the theory and politics of irony. London: Routledge, 1994.
[248]
G. King, ‘Regressions and Transgressions [in] Film comedy’, in Film comedy, London: Wallflower, 2002.
[249]
E. Kirkland, ‘Romantic Comedies and the Construction of Heterosexuality [in] Scope’, Scope [Online]. Available: http://www.nottingham.ac.uk/scope/issues/2007/october-issue-09.aspx
[250]
F. Krutnik, Hollywood comedians, the film reader, vol. In focus. London: Routledge, 2002.
[251]
M. Stern, ‘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, pp. 144–153, 2010 [Online]. Available: http://freireproject.org/wp-content/journals/sprinkle/Sprinkle_vol3.pdf
[252]
A. Stott, Comedy, vol. The new critical idiom. New York: Routledge, 2005.
[253]
J. Troyer and C. Marchiselli, ‘Slack, Slacker, Slackest: Homosocial Bomding in Contemporary Dude Cinema [in] The trouble with men: masculinities in European and Hollywood cinema’, in The trouble with men: masculinities in European and Hollywood cinema, London: Wallflower, 2002.
[254]
D. Dobkin, ‘Wedding crashers’. New Line Productions, [London?], 2005.
[255]
R. M. Thurber, ‘Dodgeball: grab life by the balls’. 20th Century Fox Home Entertainment, [s.l.], 2005.
[256]
P. Farrelly and B. Farrelly, ‘Hall Pass’. Warner Home Video, [s.l.], 2011.
[257]
P. Weitz, ‘American pie’. Columbia Tristar Home Video, [s.l.], 1999.
[258]
A. Tennant, ‘Hitch’. Sony Pictures Home Entertainment, [s.l.], 2005.
[259]
D. Leiner, ‘Dude, Where’s My Car?’ Twentieth Century Fox, 2000.
[260]
G. Mottola, ‘Superbad’. Sony Pictures Home Entertainment, [London?], 2007.
[261]
T. Goldwyn, ‘The Last Kiss’. Momentum, [s.l.], 2006.
[262]
W. Gluck, ‘Friends with benefits’. Sony Pictures Home Entertainment, London, 2011.
[263]
I. Reitman, ‘No Strings Attached’. Paramount Home Entertainment, 2011.
[264]
R. Howard, ‘Dilemma’. 2011.
[265]
J. Kasdan, ‘Bad teacher’. Sony Pictures Home Entertainment, 2011.
[266]
J. Roach, ‘Dinner for schmucks’. 2010.
[267]
J. Apatow, ‘The 40 year old virgin’. Universal Pictures, [s.l.], 2005.
[268]
J. Apatow, ‘Knocked up’. Universal Pictures, [s.l.], 2007.
[269]
D. Wain, ‘Role Models’. Universal Pictures UK, [UK], 2008.
[270]
D. Liman, ‘Swingers’. 1996.
[271]
S. Anders, B. Burns, J. Morris, M. Wahlberg, W. Ferrell, and Paramount Home Entertainment (Firm), ‘Daddy’s home’. Paramount Home Entertainment, [s.l.], 2016.
[272]
S. Faludi, ‘The son, the moon, and the stars: The promise of postwar manhood [in] Stiffed: the betrayal of modern man’, in Stiffed: the betrayal of modern man, London: Chatto & Windus, 1999, pp. 3–47.
[273]
T. Modleski, Feminism without women: culture and criticism in a postfeminist age. New York: Routledge, 1991.
[274]
T. Edwards, ‘Crisis, what crisis? [in] Cultures of masculinity’, in Cultures of masculinity, London: Routledge, 2006 [Online]. Available: http://lib.myilibrary.com/browse/open.asp?id=29157&entityid=https://login.uea.ac.uk/entity
[275]
E. Anderson, Inclusive masculinity: the changing nature of masculinities, vol. Routledge research in gender and society. Hoboken: Taylor & Francis, 2009 [Online]. Available: http://www.UEA.eblib.com/EBLWeb/patron?target=patron&extendedid=P_439168_0&
[276]
B. Baker, Masculinity in fiction and film: representing men in popular genres, 1945-2000, vol. Continuum literary studies. London: Continuum, 2006 [Online]. Available: http://lib.myilibrary.com/browse/open.asp?id=129499&entityid=https://login.uea.ac.uk/entity
[277]
R. Chapman and J. Rutherford, Male order: unwrapping masculinity. London: Lawrence & Wishart, 1988.
[278]
S. Cohan and I. R. Hark, Screening the male: exploring masculinities in Hollywood cinema. London: Routledge, 1993 [Online]. Available: http://www.uea.eblib.com/patron/FullRecord.aspx?p=179867
[279]
P. Cook, ‘Masculinity in Crisis?’, Screen, vol. 23, no. 3–4, pp. 39–46, 1982, doi: 10.1093/screen/23.3-4.39.
[280]
T. Edwards, Cultures of masculinity. London: Routledge, 2006 [Online]. Available: http://lib.myilibrary.com/browse/open.asp?id=29157&entityid=https://login.uea.ac.uk/entity
[281]
‘“The more you look, the less you really know”: the redemption of white masculinity in contemporary American and French cinema.’, Cinema Journal, vol. XLVII, no. 3, pp. 29–47, 2008 [Online]. Available: https://uea.idm.oclc.org/login?url=http://fiaf.chadwyck.com/fulltext/indexFullText.do?id=004/0349097&area=index&fromToC=yes&jid=006/0000069
[282]
D. Greven, Manhood in Hollywood from Bush to Bush. Austin, Tex: University of Texas Press, 2009.
[283]
J. Heartfield, ‘There is No Masculinity Crisis [in] Genders OnLine Journal’, Genders OnLine Journal - There is No Masculinity Crisis, no. 35, 2002 [Online]. Available: https://web.archive.org/web/20141021210202/http://www.genders.org/g35/g35_heartfield.html
[284]
L. Hunter, ‘The Celluloid Cubicle: Regressive Constructions of Masculinity in 1990s Office Movies [in] Journal of American Culture’, Journal of American Culture, vol. 26, no. 1, pp. 71–86, 2003 [Online]. Available: https://uea.idm.oclc.org/login?url=http://web.a.ebscohost.com/ehost/detail/detail?vid=4&sid=8caeb0d3-0583-4d03-92ed-11d5227e24a6@sessionmgr4003&hid=4109&bdata=JnNpdGU9ZWhvc3QtbGl2ZQ==#db=a9h&AN=9648771
[285]
M. S. Kimmel, Manhood in America: a cultural history, Third edition. New York: Oxford University Press, 2012.
[286]
F. Pfeil, White guys: studies in postmodern domination and difference, vol. The Haymarket series. London: Verso, 1995.
[287]
P. Powrie, A. Davies, and B. Babington, The trouble with men: masculinities in European and Hollywood cinema. London: Wallflower, 2004.
[288]
J. Sconce, ‘Smart Cinema [in] Contemporary American cinema’, in Contemporary American cinema, London: Open University Press, 2006 [Online]. Available: http://www.uea.eblib.com/patron/FullRecord.aspx?p=295533
[289]
J. Staiger, ‘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’, in Feminism at the movies: understanding gender in contemporary popular cinema, Oxon: Routledge, 2011 [Online]. Available: http://lib.myilibrary.com/browse/open.asp?id=344197&entityid=https://login.uea.ac.uk/entity
[290]
O. Stone, ‘Wall Street’. Twentieth Century Fox Home Entertainment, [s.l.], 2010.
[291]
T. Gilroy, ‘Michael Clayton’. Twentieth Century Fox Home Entertainment LLC., 2007.
[292]
S. Gaghan, ‘Syriana’. Warner Bros, 2005.
[293]
G. Clooney, ‘Good night, and good luck’. 2005.
[294]
J. Schumacher, ‘Falling down: a tale of urban reality’. Warner Home Video, [s.l.], 1993.
[295]
T. Ford, ‘A single man’. 2009.
[296]
J. Coen and E. Coen, ‘Burn after reading’. 2008.
[297]
M. Forster, ‘Quantum of solace’. 2008.
[298]
J. Coen and E. Coen, ‘A serious man’. 2009.
[299]
J. Coen and E. Coen, ‘No country for old men’. Paramount Home Entertainment, [S.l.], 2007.
[300]
J. Wells, ‘The company men’. 2010.
[301]
L. Wiseman, ‘Die hard 4.0’. 2007.
[302]
S. Faludi, ‘The return of Superman [in] The terror dream: fear and fantasy in post-9/11 America’, in The terror dream: fear and fantasy in post-9/11 America, 1st ed., New York: Metropolitan Books, 2007, pp. 46–64.
[303]
K. Ross, ‘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’, in The handbook of gender, sex, and media, vol. Handbooks in communication and media, Chichester: Wiley-Blackwell, 2012 [Online]. Available: http://lib.myilibrary.com/browse/open.asp?id=422805&entityid=https://login.uea.ac.uk/entity
[304]
Ayers, Drew, ‘Bodies, Bullets, and Bad Guys: Elements of the Hardbody Film’, Film Criticism, vol. 32, no. 3 [Online]. Available: http://search.proquest.com/docview/200940087?pq-origsite=gscholar
[305]
E. Anderson, Inclusive masculinity: the changing nature of masculinities, vol. Routledge research in gender and society. Hoboken: Taylor & Francis, 2009 [Online]. Available: http://www.UEA.eblib.com/EBLWeb/patron?target=patron&extendedid=P_439168_0&
[306]
B. Baker, Masculinity in fiction and film: representing men in popular genres, 1945-2000, vol. Continuum literary studies. London: Continuum, 2006 [Online]. Available: http://lib.myilibrary.com/browse/open.asp?id=129499&entityid=https://login.uea.ac.uk/entity
[307]
S. Ducat, The wimp factor: gender gaps, holy wars, and the politics of anxious masculinity. Boston, MA: Beacon Press, 2004.
[308]
T. Edwards, Cultures of masculinity. London: Routledge, 2006 [Online]. Available: http://lib.myilibrary.com/browse/open.asp?id=29157&entityid=https://login.uea.ac.uk/entity
[309]
S. Faludi, The terror dream: fear and fantasy in post-9/11 America, 1st ed. New York: Metropolitan Books, 2007.
[310]
Faludi, Stiffed. Harper, 2000.
[311]
‘“The more you look, the less you really know”: the redemption of white masculinity in contemporary American and French cinema.’, Cinema Journal, vol. XLVII, no. 3, pp. 29–47, 2008 [Online]. Available: https://uea.idm.oclc.org/login?url=http://fiaf.chadwyck.com/fulltext/indexFullText.do?id=004/0349097&area=index&fromToC=yes&jid=006/0000069
[312]
M. Gallagher, Action figures: men, action films, and contemporary adventure narratives, 1st ed. New York: Palgrave Macmillan, 2006 [Online]. Available: http://lib.myilibrary.com/browse/open.asp?id=136360&entityid=https://login.uea.ac.uk/entity
[313]
D. Greven, Manhood in Hollywood from Bush to Bush. Austin, Tex: University of Texas Press, 2009.
[314]
K. M. Harris, Boys, boyz, bois: an ethics of Black masculinity in film and popular media, vol. Studies in African American history and culture. New York: Routledge, 2006.
[315]
J. Heartfield, ‘There is No Masculinity Crisis [in] Genders OnLine Journal’, Genders OnLine Journal - There is No Masculinity Crisis, no. 35, 2002 [Online]. Available: https://web.archive.org/web/20141021210202/http://www.genders.org/g35/g35_heartfield.html
[316]
B. Hooks, ‘Doing it for daddy: black masculinity in the mainstream [in] Reel to real: race, sex, and class at the movies’, in Reel to real: race, sex, and class at the movies, New York: Routledge, 1996.
[317]
S. Jeffords, Hard bodies: Hollywood masculinity in the Reagan era. New Brunswick, N.J.: Rutgers University Press, 1993.
[318]
M. S. Kimmel, Manhood in America: a cultural history, Third edition. New York: Oxford University Press, 2012.
[319]
S. Neale, ‘Masculinity as Spectacle’, Screen, vol. 24, no. 6, pp. 2–17, 1983, doi: 10.1093/screen/24.6.2.
[320]
M. Pomerance and F. K. Gateward, Where the boys are: cinemas of masculinity and youth, vol. Contemporary approaches to film and television series. Detroit: Wayne State University Press, 2004.
[321]
F. Pfeil, White guys: studies in postmodern domination and difference, vol. The Haymarket series. London: Verso, 1995.
[322]
P. Powrie, A. Davies, and B. Babington, The trouble with men: masculinities in European and Hollywood cinema. London: Wallflower, 2004.
[323]
Y. Tasker, ‘Dumb Movies for Dumb People [in] Screening the male: exploring masculinities in Hollywood cinema’, in Screening the male: exploring masculinities in Hollywood cinema, London: Routledge, 1993 [Online]. Available: http://www.uea.eblib.com/patron/FullRecord.aspx?p=179867
[324]
M. Harron, ‘American psycho’. Entertainment in Video, [s.l.], 2000.
[325]
S. Stallone, ‘Rocky Balboa’. 2006.
[326]
G. P. Cosmatos, ‘Rambo: First blood’. Optimum Home Entertainment, [s.l], 2008.
[327]
J. Moore, ‘Die hard: 1-5 legacy collection’. .
[328]
C. Nolan, ‘Inception’. Distributed by Warner Home Video, [London], 2010.
[329]
S. Spielberg, ‘War of the worlds’. Paramount Pictures, [s.l.], 2005.
[330]
J. de Bont, ‘Twister’. 1996.
[331]
M. N. Shyamalan, ‘Signs’. Buena Vista Home Entertainment, Inc, 2002.
[332]
R. Emmerich, ‘Independence day’. Twentieth Century Fox Home Entertainment, [S.l.], 1996.
[333]
B. De Palma, ‘Mission impossible’. Paramount Pictures, [s.l.], 1996.
[334]
J. Woo, ‘Mission: Impossible II’. 2000 [Online]. Available: https://learningonscreen.ac.uk/ondemand/index.php/prog/001266DC?bcast=122248021
[335]
J. J. Abrams, ‘Mission Impossible III’. 2006 [Online]. Available: https://learningonscreen.ac.uk/ondemand/index.php/prog/00730A54?bcast=105426600
[336]
B. Bird, ‘Mission impossible - Ghost Protocol’. Paramount Pictures, [s.l.], 2011.
[337]
C. McQuarrie, ‘Mission impossible - Rogue Nation’. Paramount Pictures, [s.l.], 2015.
[338]
R. Emmerich, ‘The day after tomorrow’. Twentieth Century Fox Home Entertainment, [s.l.], 2004.
[339]
P. Morel, ‘Taken’. 2008.
[340]
F. E. Siri, ‘Hostage’. 2005 [Online]. Available: https://learningonscreen.ac.uk/ondemand/index.php/prog/00588617?bcast=114808689
[341]
S. Walby, ‘Chapter 8: Alternative Futures [in] The future of feminism’, in The future of feminism, Cambridge: Polity, 2011 [Online]. Available: http://ebookcentral.proquest.com/lib/uea/detail.action?docID=1175963
