Selected References

Gender and Action Films

ISBN: 978-1-80117-515-9, eISBN: 978-1-80117-514-2

Publication date: 24 November 2022

Citation

(2022), "Selected References", Gerrard, S. and Middlemost, R. (Ed.) Gender and Action Films (Emerald Studies in Popular Culture and Gender), Emerald Publishing Limited, Leeds, pp. 161-166. https://doi.org/10.1108/978-1-80117-514-220221014

Publisher

:

Emerald Publishing Limited

Copyright © 2023 Steven Gerrard and Renée Middlemost. Published under exclusive licence by Emerald Publishing Limited


Select Bibliography

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Andris and Frederick, Andris, S., & Frederick, U. (Eds.). (2007). Women willing to fight: The fighting woman in film. Newcastle: Cambridge Scholars Publishing.

Baker, 2015 Baker, B. (2015). Contemporary masculinities in fiction, film and television. London: Bloomsbury.

Benshoff and Griffin, 2006 Benshoff, H. M. , & Griffin, S. (2006). Queer images: A history of gay and lesbian film in America. Oxford and Lanham, MD: Rowman and Littlefield Publishers, Inc.

Berry and Farquhar, 2006 Berry, C. , & Farquhar, M. (2006). China on screen: Cinema and nation. Hong Kong: Hong Kong University Press.

Beynon, 2001 Beynon, J. (2001). Masculinities and culture. Buckingham: Open University Press.

Bordwell, 2000 Bordwell, D. (2000). Planet Hong Kong: Popular cinema and the art of entertainment. Cambridge, MA: Harvard University Press.

Bourdieu, 2001 Bourdieu, P. (2001). Masculine domination. Cambridge: Polity Press.

Broderick and Ellis, 2019 Broderick, M. , & Ellis, K. (2019). Trauma and disability in Mad Max: Beyond the road warrior's fury. Cham: Springer Nature.

Brown, 2011 Brown, J. A. (2011). Dangerous curves: Action heroines, gender, fetishism, and popular culture. Jackson, MS: University Press of Mississippi.

Brown, 2015 Brown, J. A. (2015). Beyond bombshells: The new action heroine in popular culture. Jackson, MS: University Press of Mississippi.

Bruzzi, 2013 Bruzzi, S. (2013). Men's cinema: Masculinity and mise-en-scene in Hollywood. Edinburgh: Edinburgh University Press.

Butler, 1990 Butler, J. (1990). Gender trouble: Feminism and the subversion of identity. London: Routledge.

Butter et al., 2001 Butter, M. , Keller, P. , & Wendt, S. (Eds.). (2001). Arnold Schwarzenegger – Interdisciplinary perspectives on body and image. Heidelberg: Universitätsverlag Winter.

Clover, 1992 Clover, C. J. (1992). Men, women and chainsaws. Princeton, NJ and Oxford: Princeton University Press.

Cohan and Hark, 1993 Cohan, S. , & Hark, I. R. (Eds.). (1993). Screening the male: Exploring masculinities in Hollywood cinema. London: Routledge.

Connell, 1995 Connell, R. W. (1995). Masculinities. Berkeley, CA: University of California Press.

Creed, 1993 Creed, B. (1993). The Monstrous-Feminine: Film, feminism, psychoanalysis. London and New York, NY: Routledge.

Dissanyake, 2003 Dissanyake, W. (2003). Wong Kar-wai's ashes of time. Hong Kong: Hong Kong University Press.

Donnar, 2016 Donnar, G. (2016). Narratives of cultural and professional redundancy : Ageing action stardom and the “ geri – action ” film. Communication, Politics and Culture, 49(1), 118.

Ewing and Decker, 2017 Ewing, J. , & Decker, K. (Eds.). (2017). Alien and philosophy. London: Wiley & Sons.

Fu and Desser, 2000 Fu, P. , & Desser, D. (Eds.). (2000). The cinema of Hong Kong: History, arts, identity. Cambridge: Cambridge University Press.

Gallardo and Smith, 2004 Gallardo, C. X. , & Smith, J. (2004). Alien woman: The making of Lt. Ellen Ripley. New York, NY, NY: Continuum.

Gerrard, Gerrard, S. (Ed.). (2020). From Blofeld to Moneypenny: Gender in James Bond. Bingley: Emerald Publishing Limited.

Grosz and Probyn, Grosz, E., & Probyn, E. (Eds.). (1995). Sexy bodies: The strange carnalities of feminism (1st ed.). London: Routledge.

Hooks, 2003 Hooks, B. (2003). We real cool: Black men and masculinity. New York, NY: Taylor & Francis.

Hopkins, 2002 Hopkins, S. (2002). Girl heroes: The new force in popular culture. Sydney, NSW: Pluto Press.

Inness, 1999 Inness, S. A. (1999). Tough girls: Women warriors and wonder women in popular culture. Philadelphia, PA: University of Pennsylvania Press.

Inness, 2004 Inness, S. A. (Ed.). (2004). Action chicks: New images of tough women in popular culture. New York, NY: Palgrave Macmillan.

Jeffords, 1994 Jeffords, S. (1994). Hard bodies: Hollywood masculinity in the Reagan era. New Brunswick, NJ: Rutgers University Press.

Kendrick, 2019 Kendrick, J. (Ed.). (2019). A companion to the action film. London: Wiley – Blackwell.

King, 1999 King, N. (1999). Heroes in hard times: Cop action movies in the U.S. Philadelphia, PA: Temple University Press.

King, 2000 King, G. (2000). Spectacular narratives: Hollywood in the age of the blockbuster. London: I.B Tauris.

Lane, 2000 Lane, C. (2000). Feminist Hollywood from born in flames to point break. Detroit, MI: Wayne State University Press.

Lichtenfeld, 2007 Lichtenfeld, E. (2007). Action speaks louder: Violence, spectacle, and the American action movie (Revised and Expanded ed.). Middletown, NY: Wesleyan University Press.

Lumby, 1997 Lumby, C. (1997). Bad girls: Media, sex and feminism in the 90s. St. Leonards, NSW: Allen & Unwin.

McCaughey and King, 2001 McCaughey, M. , & King, N. (2001). Reel knockouts: Violent women in the movies. Austin, TX: University of Texas Press.

Murphy, 2020 Murphy, B. (2020). Flame and crimson: A history of sword-and-sorcery. Pismo Beach, CA: Pulp Hero Press.

Newton, 2021 Newton, J. (2021). The Mad Max effect. Road warriors in international exploitation cinema. London: Bloomsbury.

O'Brien, 2012 O'Brien, H. (2012). Action movies: The cinema of striking back. New York, NY: Columbia University Press.

Pang and Wong, 2005 Pang, L.-k. , & Wong, D. (Eds.). (2005). Masculinities and Hong Kong cinema. Hong Kong: Hong Kong University Press.

Purse, 2011 Purse, L. (2011). Contemporary action cinema. Edinburgh: Edinburgh University Press.

Robinson, 2000 Robinson, S. (2000). Marked men: White masculinity in crisis. New York, NY: Colombia University Press.

Schubart, 2007 Schubart, R. (2007). Super bitches and action babes: The female hero in popular cinema 1970–2006. Jefferson, MO: McFarland.

Street, 2001 Street, S. (2001). Costume and cinema: Dress codes in popular film. London: Wallflower.

Tasker, 1993 Tasker, Y. (1993). Spectacular bodies: Gender, genre and the action cinema. London: Routledge.

Tasker, 1998 Tasker, Y. (1998). Working girls: Gender and sexuality in popular cinema. London: Routledge.

Tasker, 2004 Tasker, Y. (Ed.). (2004). Action and adventure cinema. London: Routledge.

Thorndyke, 2020 Thorndyke, P. J. (2020). Barbarians at the gates of hollywood: Sword and sorcery movies of the 1980s. Wordpress.com/Amazon/Independent Publisher.

Yarrow, 2018 Yarrow, A. (2018). 90s bitch: Media, culture and the failed promise of gender equality. New York, NY: Harper Perennial.

Selected Journals and Other Printed or Online Sources

Barbour, 1999 Barbour, D. H. (1999). Heroism and redemption in the Mad Max trilogy. Journal of Popular Film and Television, 27(3), 2834. doi:10.1080/01956059909602806

Bordun, 2021 Bordun, T. M. (2021). ‘We live in the past with Kari’: Memory, fandom and online porn histories. Celebrity Studies, 12(1), 132147.

Boyle and Brayton, 2012 Boyle, E. , & Brayton, S. (2012). Ageing masculinities and ‘muscle work’ in Hollywood action film: An analysis of the expendables. Men and Masculinities, 15(5), 468485.

Briggs and Kelber-Kaye, 2000 Briggs, L. , & Kelber-Kaye, J. I. (2000). There is no unauthorized breeding in Jurassic Park: Gender and the uses of genetics. NWSA Journal, 12(3), 92113.

Brown, 1993 Brown, J. A. (1993). Gender and the action heroine: Hardbodies and the point of no return. Cinema Journal, 35(3), 5272.

Caldwell, 2010 Caldwell, T. (2010). Aliens: Mothers, monsters and marines. Screen Education, 59, 125130.

Connell and Messerschmidt, 2005 Connell, R. W. , & Messerschmidt, J. (2005). Hegemonic masculinity: Rethinking the concept. Gender & Society, 19(6), 829859.

Creed, 1987 Creed, B. (1987). From here to modernity feminism and postmodernism. Screen, 28(2), 4768.

Dyer, 2015 Dyer, R. (2015). Jurassic world and procreation anxiety. Film Quarterly, 69(2), 1924.

Engelbrecht, 2020 Engelbrecht, J. (2020). Ellen Ripley, Sarah Connor, and Kathryn Janeway: The subversive politics of action heroines in 1980s and 1990s film and television. Image & Text, 34, 119. doi:10.17159/2617-3255/2020/n34a6

Faithful, 2016 Faithful, G. (2016). Survivor, warrior, mother, saviour: The evolution of the female hero in apocalyptic science fiction film of the late Cold War. Implicit Religion, 19(3), 347370.

Falicov, 2005 Falicov, T. L. (2005). US-Argentine co-productions, 1982–1990: Roger Corman, Aries Productions, “Schlockbuster” movies, and the international market. Film & History: An Interdisciplinary Journal of Film and Television Studies, 34(1), 3138. (2004). doi:10.1353/flm.2004.0015

Gates, 2004 Gates, P. (2004). Always a partner in crime: Black masculinity in the Hollywood detective film. Journal of Popular Film and Television, 32(1), 2029.

Gill, 2003 Gill, R. (2003). From sexual objectification to sexual subjectification: The resexualisation of women's bodies in the media. Feminist Media Studies, 3(1), 100106.

Guyot, 2017 Guyot, N. (2017). Knowing the land: Women in James Cameron's science fiction movies. British Fantasy Society (BFS) Journal, 17, 99107.

Hampshire, 2017 Hampshire, K. (2017). “Who killed the world?”: Monstrous masculinity and Mad Max. Digital Literature Review, 4, 177190. Retrieved from https://openjournals.bsu.edu/dlr/article/view/2715. Accessed on September 23, 2021.

Hills, 1999 Hills, E. (1999). From ‘figurative males’ to action heroines: Further thoughts on active women in the cinema. Screen, 40(1), 3850.

Hopkins, 2017 Hopkins, S. (2017). Girl power-dressing: Fashion, feminism and neoliberalism with Beckham, Beyonce and Trump. Celebrity Studies, 9, 99104. Retrieved from https://www.jstor.org/stable/10.1525/fq.2015.69.2.19

Johinke, 2001 Johinke, R. (2001). Manifestations of masculinities: Mad Max and the lure of the forbidden zone. Journal of Australian Studies, 67, 118125.

King, 2008 King, N. (2008). Generic womanhood: Gendered depictions in cop action cinema. Gender & Society, 22(2), 238260.

Kirby, 2019 Kirby, R. (2019). ‘Toxic masculinity’: The problem with men. Trends in Urology & Men’s Health, 10(5), 4.

Lei, 2021 Lei, C.-P. (2021). ‘Indecent’ women and gendered memory: Reflective Nostalgia in Hong Kong cinema. Asian Journal of Communication, 31(3), 163178.

Magoulick, 2006 Magoulick, M. (2006). Frustrating female heroism: Mixed messages in Xena, Nikita and Buffy. Journal of Popular Culture, 35(5), 729755.

Mulvey, 1975 Mulvey, L. (1975). Visual pleasure and narrative cinema. Screen, 16(3), 1618. Autumn 1975.

Nelson, 2004 Nelson, T. (2004). Even an android can cry. Journal of Gender Studies, 13(3), 251257.

Nulman, 2014 Nulman, E. (2014). Representation of women in the age of globalized film. Journal of Research in Gender Studies, 4(2), 898918.

Ortí z, 1991 Ortíz, C. M. (1991). Violencia política de los Ochenta: Elementos para una Reflexión Histórica. Anuario Colombiano de Historia Social y de la Cultura, 18–19, 245280.

Payne, 2017 Payne, D. (2017). Shifting gears and paradigms at the movies: Masculinity, automobility, and the rhetorical dimensions of Mad Max: Fury road . Studies in Popular Culture, 40(1), 102135.

Schuckmann, 1998 Schuckmann, P. (1998). Masculinity, the male spectator and the homoerotic gaze. Amerikastudien/American Studies, 43(4). Engendering Manhood (1998). Universitätsverlag WINTER Gmbh.

Sharrett, 1985 Sharrett, C. (1985). The hero as pastiche: Myth, male fantasy, and simulacra in Mad Max and the road warrior. Journal of Popular Film and Television, 13(2), 8091.

Sutherland and Feltey, 2016 Sutherland, J. , & Feltey, K. M. (2016). “Here's looking at her:” An intersectional analysis of women, power and feminism in film. Journal of Gender Studies, 26(6), 618631.

Temelli, 2017 Temelli, Y. (2017). Vivir el Momento y Morir al Instante: el Sicario Como Figura Efimera en la Narrativa Colombiana. Romance Notes, 57, 245254.

Wright, 2012 Wright, A. (2012, December). A sheep in wolf's clothing? The problematic representation of women and the female body in 1980s sword and sorcery cinema. Journal of Gender Studies, 21(4), 401411.

Select Filmography

Æon Flux (Karyn Kusama, 2005).

Armed Response (John Stockwell, 2017).

Atomic Blonde (David Leitch, 2017).

Black Mama, White Mama (E. Romero, 1973).

Black Panther (Ryan Coogler, 2018).

Blade (Stephen Norrington, 1998).

Blade II (Guillermo Del Toro, 2002).

Boiling Point (James B. Harris, 1993).

Bombshell (Jay Roach, 2019)

Brooklyn's Finest (Antoine Fuqua, 2009).

Casino Royale (Martin Campbell, 2006).

Catwoman (Pitof, 2004).

Charlie's Angels: Full Throttle (Joseph McGinty Nicol, 2003).

China O'Brien (Robert Clouse, 1988).

Cleopatra Jones (J. Starrett, 1973).

Coffy (J. Hill, 1973).

Coming 2 America (Craig Brewer, 2021).

Deadpool (Tim Miller, 2016).

Demolition Man (Marco Brambilla, 1993).

Die Another Day (Lee Tamahori, 2002).

Die Hard (John McTiernan, 1988).

Dolemite Is My Name (Craig Brewer, 2019).

Drop Zone (John Badham, 1994).

Drum (S. Carver, 1976).

Escape from L.A. (J. Carpenter, 1996).

Escape from New York (J. Carpenter, 1981).

Fort Apache, the Bronx (D. Petrie, 1981).

Foxy Brown (J. Hill, 1974).

Friday Foster (A. Marks, 1975).

Gallowwalkers (Andrew Goth, 2012).

Game of Death (Georgio Serafini, 2010).

Ghosts of Mars (J. Carpenter, 2001).

G.I. Jane (R. Scott, 1997).

Hancock (Peter Berg, 2008).

Haywire (Steven Soderbergh, 2011).

Jackie Brown (Q. Tarantino, 1997).

Jason Bourne (Paul Greengrass, 2016).

Jungle Fever (Spike Lee, 1991).

Kill Bill Volumes One and Two (Quentin Tarantino, 2003/2004).

Kings of New York (Abel Ferrara, 1990).

Lone Star (John Sayles, 1996).

Long Shot (Jonathan Levine, 2019).

Mad Max: Fury Road (George Miller, 2015).

Minority Report (Steven Spielberg, 2002).

Mo Better Blues (Spike Lee, 1990).

Money Train (Joseph Ruben, 1995).

Monster (Patty Jenkins, 2003).

Murder at 1600 (Dwight H. Little, 1997).

New Jack City (Mario Van Peebles, 1991).

On the Edge (R. Nilsson, 1985).

One Night Stand (Mike Figgis, 1997).

Passenger 57 (Kevin Hooks, 1992).

Quantum of Solace (Marc Foster, 2008).

Rising Sun (Philip Kaufman, 1993).

Shaft (Gordon Parks, 1971).

Sheba, Baby (W. Girdler, 1975).

Skyfall (Sam Mendes, 2012).

Something Wicked This Way Comes (J. Clayton, 1983).

Spectre (Sam Mendes, 2015).

Stand Alone (A. Beattie, 1985)

Star Trek: First Contact (Jonathan Frakes, 1996).

Super Fly (G. Parks Jr., 1972).

Sweet Sweetback's Baadasssss Song (M. Van Peebles, 1971).

Terminator 2: Judgment Day (James Cameron, 1992).

The Big Bird Cage (J. Hill, 1972).

The Big Doll House (J. Hill, 1971).

The Bourne Identity (Doug Liman, 2002).

The Bourne Legacy (Tony Gilroy, 2012).

The Bourne Supremacy (Paul Greengrass, 2004).

The Bourne Ultimatum (Paul Greengrass, 2007).

The Expendables 3 (Patrick Hughes, 2014).

The Fast and the Furious 6 (Justin Lin, 2013).

The Matrix (Lana and Lilly Wachowski, 1999).

The Old Guard (Gina Prince-Bythewood, 2020).

The Recall (Mauro Borrelli, 2017).

The Terminator (J. Cameron, 1984).

The Waterdance (Neil Jimenez and Michael Sternberg, 1992).

To Wong Foo, Thanks for Everything! Julie Newmar (Beeban Kidron, 1995).

Tully (Jason Reitman, 2018).

The Fast and the Furious 7 (James Wan, 2015).

U.S. Marshalls (Stuart Baird, 1998).

White Men Can't Jump (Ron Shelton, 1992).

Wildcats (Michael Richie, 1986).

Women in Cages (G. De Leon, 1971).