Neo-feminist cinema : girly films, chick flicks and consumer culture /

What has happened to feminist filmmaking in the past several decades? How did it transform itself from a serious consideration of sexual politics and gender roles, at least in mainstream culture, into a series of films that glorify consumerism over all other considerations? That is what Radner would like to know, and as this compact, sharply written book demonstrates, the evidence of this shift in focus and values is all around--for example, in Sex in the City (as a television series and two feature films), the "Romeo and Juliet" falsity of Pretty Woman, the retro-girlishness of Legally Blonde, and the embrace of high fashion and the industry that creates it in The Devil Wears Prada. As entertainment, these films seek to keep viewers in a constant state of "brand consciousness," highlighting shopping and spending as their principal pursuits. As narratives, they resemble the romance novels that stream off the paperback racks in a seemingly endless torrent, offering their viewers escapism but not empowerment. This is a compelling and much-needed book. Summing Up: Highly recommended. Lower-division undergraduates through faculty and professionals; general readers. G. A. Foster University of Nebraska--Lincoln