Framing Female Lawyers

As real women increasingly entered the professions from the 1970s onward, their cinematic counterparts followed suit. Women lawyers, in particular, were the protagonists of many Hollywood films of the Reagan-Bush era, serving as a kind of shorthand reference any time a script needed a powerful career woman. Yet a close viewing of these films reveals contradictions and anxieties that belie the films' apparent acceptance of women's professional roles. In film after film, the woman lawyer herself effectively ends up "on trial" for violating norms of femininity and patriarchal authority. In this book, Cynthia Lucia offers a sustained analysis of women lawyer films as a genre and as a site where other genres including film noir, maternal melodrama, thrillers, action romance, and romantic comedy intersect. She traces Hollywood representations of female lawyers through close readings of films from the 1949 Adam's Rib through films of the 1980s and 1990s, including Jagged Edge, The Accused, and The Client, among others. She also examines several key male lawyer films and two independent films, Lizzie Borden's Love Crimes and Susan Streitfeld's Female Perversions. Lucia convincingly demonstrates that making movies about women lawyers and the law provides unusually fertile ground for exploring patriarchy in crisis. This, she argues, is the cultural stimulus that prompts filmmakers to create stories about powerful women that simultaneously question and undermine women's right to wield authority.

You Don't Look Like a Lawyer: Black Women and Systemic Gendered Racism highlights how race and gender create barriers to recruitment, professional development, and advancement to partnership for black women in elite corporate law firms.

DIVTheorizes the emerging field at the intersection of law and film through a detailed, feminist analysis of masterpiece films about law from around the world./div

Drawing on more than 100 interviews with women lawyers, judges, law school professors, and law students, Harrington pinpoints the barriers women face when they claim equal professional authority--among them the "men's club" ambience, the focus on billable hours, distorted media images, and sexual harassment.

This comparative study explores the lives of some of the women who first initiated challenges to male exclusivity in the legal professions in the late-nineteenth and early-twentieth centuries. Their challenges took place at a time of considerable optimism about progressive societal change, including new and expanding opportunities for women, as well as a variety of proposals for reforming law, legal education, and standards of legal professionalism. By situating women's claims for admission to the bar within this reformist context in different jurisdictions, the study examines the intersection of historical ideas about gender and about legal professionalism at the turn of the twentieth century. In exploring these systemic issues, the study also provides detailed examinations of the lives of some of the first women lawyers in six jurisdictions: the United States, Canada, Britain, New Zealand and Australia, India, and western Europe. In exploring how individual women adopted different legal arguments in litigated cases, or devised particular strategies to overcome barriers to professional work, the study assesses how shifting and contested ideas about gender and about legal professionalism shaped women's opportunities and choices, as well as both support for and opposition to their claims. As a comparative study of the first women lawyers in several different jurisdictions, the book reveals how a number of quite different women engaged with ideas of gender and legal professionalism at the turn of the twentieth century.

Eve Was Framed offers an impassioned, personal critique of the British legal system. Helena Kennedy focuses on the treatment of women in our courts - at the prejudices of judges, the misconceptions of jurors, the labyrinths of court procedures and the influence of the media. But the inequities she uncovers could apply equally to any disadvantaged group - to those whose cases are subtly affected by race, class poverty or politics, or who are burdened, even before they appear in court, by misleading stereotypes.

Looking back on her career in 1977, Bette Davis remembered with pride, "Women owned Hollywood for twenty years." She had a point. Between 1930 and 1950, over 40% of film industry employees were women, 25% of all screenwriters were female, one woman ran MGM behind the scenes, over a dozen women worked as producers, a woman headed the Screen Writers Guild three times, and press claimed Hollywood was a generation or two ahead of the rest of the country in terms of gender equality and employment. The first comprehensive history of Hollywood's high-flying career women during the studio era, Nobody's Girl Friday covers the impact of the executives, producers, editors, writers, agents, designers, directors, and actresses who shaped Hollywood film production and style, led their unions, climbed to the top during the war, and fought the blacklist. Based on a decade of archival research, author J.E. Smyth uncovers a formidable generation working within the American film industry and brings their voices back into the history of Hollywood. Their achievements, struggles, and perspectives fundamentally challenge popular ideas about director-based auteurism, male dominance, and female disempowerment in the years between First and Second Wave Feminism. Nobody's Girl Friday is a revisionist history, but it's also a deeply personal, collective account of hundreds of working women, the studios they worked for, and the films they helped to make. For many years, historians and critics have insisted that both American feminism and the power of women in Hollywood declined and virtually disappeared from the 1920s through the 1960s. But Smyth vindicates Bette Davis's claim. The story of the women who called the shots in studio-era Hollywood has never fully been told-until now.