Femme Fatale

(Limelight). From the femme fatale of the early cinema to her post-feminist rebirth, this lavishly illustrated book and comprehensive guide traces the history of these dangerously alluring, manipulative, and desperate lethal ladies. Femme Fatale surveys the history of the femme fatale in world cinema, with more than 300 photographs testifying to the power of these mysterious women. The book begins with the silent period and its vamps, like Theda Bara, Pola Negri, Clara Bow, and Bebe Daniels, then moves on to the Pre-Code sound period of American films, which, showing liberated attitudes toward sex and women, featured actresses like Jean Harlow, Marlene Dietrich, and Greta Garbo. The story continues with the noir 1940s, when the femme fatale became truly lethal including actresses like Ava Gardner, Rita Hayworth, and Barbara Stanwyck. In the repressive 1950s, the international femme fatale took the fore Brigitte Bardot, Maria Felix, Elizabeth Taylor, Anita Ekberg, etc. Finally, the authors turn to the revolutionary post-feminist modern period, with an array of lethal ladies from all over the world, like Pam Grier, Salma Hayek, Gong Li, Angelina Jolie, and Sharon Stone.

These essays trace the femme fatale across literature, visual culture and cinema, exploring the ways in which fatal femininity has been imagined in different cultural contexts and historical epochs, and moving from mythical women such as Eve, Medusa and the Sirens via historical figures such as Mata Hari to fatal women in contemporary cinema.

"In the striking works of pre-Raphaelite, Symbolist and Art Nouveau artists and in their literary parallels, Patrick Bade uncovers an extraordinary, disturbing world of sexual fantasy and a remarkably pervasive image of woman as destroyer, enchantress, priestess, siren, sphinx and angel of death, the femme fatale becambe the sinister new heroine of an entire generation of one of the most powerful symbols of change in late nineteenth-century society."--Back cover.

How does a Norwegian farm girl become an infamous American serial killer, responsible for upward of 40 murders? Born in rural Norway in 1859, "Belle" Storset Sorenson Gunness was constantly dealt bad hands in life—so she decided to take life into her own hands. In America's Femme Fatale: The Story of Serial Killer Belle Gunness, Jane Simon Ammeson traces Gunness's path from a poor teenager rejected by a wealthy lover; to a new wife in Chicago, desperate to escape the poverty of her childhood and impatient for a child to love; to an ambitious, widowed landowner in La Porte, Indiana. Ammeson's careful research reveals how the young immigrant slowly turned into one of America's most dangerous serial killers, allegedly murdering husbands, lovers, and children, and, for a price, disposing of inconvenient corpses for others. Ammeson brings this shocking story to life, detailing the suspicious neighbors who were cowed into silence by Belle's intimidating personality, the culture of orphanages trafficking children and matrimonial agencies, the carnival atmosphere that exploded around the pile of bones found on Gunness's farm, and the sensational reporting that filled newspapers for months. Perfect for true crime fans fascinated by the creation of a sociopathic serial killer, America's Femme Fatale will leave you entertained and looking over your shoulder.

In this work of feminist film criticism, Mary Ann Doane examines questions of sexual difference and knowledge in cinematic, theoretical, and psychoanalytic discourses. "Femmes Fatales" examines Freud, the female spectator, the meaning of the close-up, and the nature of stardom. Doane's analyses of such figures as Pabst's Lulu and Rita Hayworth's Gilda trace the thematics and mechanics of maskes, masquerade, and veiling, with specific attention to the form and technology of the cinema. Working through and against the intellectual frameworks of post-structuralist and psychoanalytic theory, Doane interrogates cinematic and theoretical claims to truth about women which rely on judgements about vision and its stability or instability. Reflecting the shift in conceptual priorities within feminist film theory over the last decade, "Femmes Fatales" addresses debates over female spectatorhsip, essentialism and anti-essentialism, the tensions between psychoanalysis and history, and the relations between racial and sexual difference. Doane's nuanced and original readings of the "femme fatale" in cinema illustrate confrontations between feminism, film theory and psychoanalysis. This book should be of interest to students and lecturers in women's studies, communications studies and film theory.

The last freelance P.I. on Earth, Zach Johnson has been hired to track down a young beauty who happens to be a deadly secret weapon for the World Council. Zach follows Natasha to various vacation destinations, but she eludes him, leaving a trail of destruction in her wake. Original.

"examines the changing social and economic status of women from the 1860s through the 1880s, and rejects the stereotypical mid-Victorian femme fatale portrayed by conservative ideologues critiquing popular fiction by Wilkie Collins, Mary Elizabeth Braddon, Honore de Balzac, and William Makepeace Thackeray. In these book reviews, the female protagonist is simply minimized to a dangerous woman. Refuting this one-dimensional characterization, this book argues that the femme fatale comes to represent the real-life struggles of the middle-class Victorian woman who overcomes major adversities such as poverty, abusive husbands, abandonment, single parenthood, limited job opportunities, the criminal underworld, and Victorian society's harsh invective against her." --publisher description.

The femme fatale occupies a precarious yet highly visible space in contemporary cinema. From sci-fi alien women to teenage bad girls, filmmakers continue to draw on the notion of the sexy deadly woman in ways which traverse boundaries of genre and narrative. This book charts the articulations of the femme fatale in American cinema of the past twenty years, and contends that, despite her problematic relationship with feminism, she offers a vital means for reading the connections between mainstream cinema and representations of female agency. The films discussed raise questions about the limits and potential of positioning women who meet highly normative standards of beauty as powerful icons of female agency. They point towards the constant shifting between patriarchal appropriation and feminist recuperation that inevitably accompanies such representations within mainstream media contexts.