Framing Female Lawyers: Women on Trial in Film by Cynthia Lucia

By Cynthia Lucia

As actual ladies more and more entered the professions from the Seventies onward, their cinematic opposite numbers swimsuit. girls attorneys, specifically, have been the protagonists of many Hollywood motion pictures of the Reagan-Bush period, serving as a type of shorthand reference any time a script wanted a robust occupation lady. but a detailed viewing of those motion pictures finds contradictions and anxieties that belie the movies' obvious popularity of women's expert roles. In movie after movie, the girl attorney herself successfully finally ends up "on trial" for violating norms of femininity and patriarchal authority. during this e-book, Cynthia Lucia bargains a sustained research of ladies legal professional movies as a style and as a website the place different genres together with movie noir, maternal melodrama, thrillers, motion romance, and romantic comedy intersect. She lines Hollywood representations of woman legal professionals via shut readings of flicks from the 1949 Adam's Rib via movies of the Nineteen Eighties and Nineties, together with Jagged area, The Accused, and the buyer, between others. She additionally examines a number of key male attorney motion pictures and autonomous movies, Lizzie Borden's Love Crimes and Susan Streitfeld's lady Perversions. Lucia convincingly demonstrates that making videos approximately girls legal professionals and the legislations presents surprisingly fertile floor for exploring patriarchy in problem. This, she argues, is the cultural stimulus that activates filmmakers to create tales approximately robust girls that concurrently query and undermine women's correct to wield authority. (200512)

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Framing Female Lawyers: Women on Trial in Film

As actual girls more and more entered the professions from the Nineteen Seventies onward, their cinematic opposite numbers swimsuit. girls legal professionals, particularly, have been the protagonists of many Hollywood motion pictures of the Reagan-Bush period, serving as one of those shorthand reference any time a script wanted a strong occupation girl.

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Reliance on ‘real difference,’” Rhode points out, “has deflected attention from the process by which differences have been attributed and from groups that are underrepresented in that process. Such an approach has done more to reflect sex-based inequalities than to challenge them” (Rhode 1989, 3). ” A means of transcending the sameness-difference framework, according to Rhode, is to consider issues of disadvantage, concerned “not with difference but with its consequences” (Rhode 1989, 82– 83).

That’s what the court is. ” After hearing these words, one is tempted to ask why Frank would continue to participate in the process, knowing the deck is so clearly stacked. Why does so much depend upon his reentering a system that, he acknowledges, is designed to parcel out justice in the smallest quantities to “the weak” in order to sustain the position of the strong? Clearly, it is here where the film’s liberal political position begins to reveal its limitations, bound as it is by an idealized vision of the law.

Outlining the trajectory of Critical Legal Studies and citing the work of other critical legal theorists as well, Gordon further states that such utopian promises may “become rallying points for organization, so that the state and law become not merely instruments of class Framing domination but ‘arenas of class struggle’” (Gordon 1990, 416 – 417). Female In posing the important question of how, then, law functions to Lawyers maintain, support, and legitimate the existing power structure, Gordon calls upon Gramsci’s notion of hegemony, concluding that “the most effective kind of domination takes place when both the dominant and dominated classes believe that the existing order, with perhaps some marginal changes, is satisfactory, or at least represents the most that anyone could expect, because things pretty much have to be the way they are” (Gordon 1990, 418).

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