The Gendered Score

Heather Laing examines, for the first time, the issues of gender and emotion that underpin the classical style of film scoring, but that have until now remained unquestioned and untheorized, thus providing a benchmark for thinking on more recent and alternative styles of scoring. Many theorists have discussed this type of music in film as a signifier of emotion and 'the feminine', a capacity in which it is frequently associated with female characters. The full effect of such an association on either female or male characterization, however, has not been examined. This book considers the effects of this association by progress through three stages: cultural-historical precedents, the generic parameters of melodrama and the woman's film, and the narrativization of music in film through diegetic performance and the presence of musicians as characters. Case studies of specific films provide textual and musical analyses, and the genres of melodrama and the woman's film have been chosen as representative not only of the epitome of the Hollywood scoring style, but also of the narrative association of women, emotion and music. Laing leads to the conclusion that music functions as more than merely a signifier of emotion. Rather, it takes a crucial role in both indicating and determining how emotion is actually understood as part of the construction of gender and its representation in film.

This book makes an innovative contribution to the relatively young field of Queer Linguistics. Subscribing to a poststructuralist framework, it presents a critical, deconstructionist perspective on the discursive construction of heteronormativity and gender binarism from a linguistic point of view. On the one hand, the book provides an outline of Queer approaches to issues of language, gender and sexual identity that is of interest to students and scholars new to the field. On the other hand, the empirical analyses of language data represent material that also appeals to experts in the field. The book deals with repercussions of the discursive materialisation of heteronormativity and gender binarism in various kinds of linguistic data. These include stereotypical genderlects, structural linguistic gender categories (especially from a contrastive linguistic point of view), the discursive sedimentation of female and feminine generics, linguistic constructions of the gendered body in advertising and the usage of personal reference forms to create characters in Queer Cinema. Throughout the book, readers become aware of the wounding potential that gendered linguistic forms may possess in certain contexts.

Hollywood film music is often mocked as a disreputably 'applied' branch of the art of composition that lacks both the seriousness and the quality of the classical or late-romantic concert and operatic music from which it derives. Its composers in the 1930s and '40s were themselves often scornful of it and aspired to produce more 'serious' works that would enhance their artistic reputation. In fact the criticism of film music as slavishly descriptive or manipulatively over-emotional has a history that is older than film - it had even been directed at the relatively popular operatic and concert music written by some of the émigré Hollywood composers themselves before they had left Europe. There, as subsequently in America, such criticism was promoted by the developing project of Modernism, whose often high-minded opposition to mass culture used polarizing language that drew, intentionally or not, upon that of gender difference. Regressive, late-romantic music, the old argument ran, was -- as women were believed to be -- emotional, irrational, and lacking in logic. This book seeks to level the critical playing field between film music and "serious music," reflecting upon gender-related ideas about music and modernism as much as about film. Peter Franklin broaches the possibility of a history of twentieth-century music that would include, rather than marginalize, film music -- and, indeed, the scores of a number of the major Hollywood movies discussed here, like The Bride of Frankenstein, King Kong, Rebecca, Gone With The Wind, Citizen Kane and Psycho. In doing so, he brings more detailed music-historical knowledge to bear upon cinema music, often discussed as a unique and special product of film, and also offers conclusions about the problematic aspects of musical modernism and some arguably liberating aspects of "late-romanticism."

Beere has produced a new edition of her Women and Women's Issues: A Handbook of Tests and Measurements. Based largely on a search of the PsychLIT and ERIC databases from January 1978 to December 1988, the volume includes information on 211 tests and measures pertaining to gender roles and attitudes towards gender. . . . Particularly useful are chapter reviews of the literature in which the author reviews the quality of available research. Recommended for college and university libraries. Choice This handbook stems, in part, from the author's previously published Women and Women's Issues. Realizing that a book published in 1979 could no longer provide researchers with the up-to-date information they require regarding measures to use in research, Beere set out to revise and update her work. In the process, she soon discovered that the measures identified through her search of the literature produced since her first book was published far exceeds the number that can be realistically described in a single handbook. Thus, she has undertaken a two-volume guide, the first of which, Gender Roles, describes only those measures pertaining to gender roles and attitudes toward gender-related issues. Gender roles are broadly defined to include adults' and children's gender roles, gender stereotypes, marital roles, parental roles, employee roles, and multiple roles. A total of 211 measures are included. In addition to 67 scales still in use that were described in her earlier book, Beere includes scales that are relevant, have evidence of their reliability and/or validity, and are used in more than one published article or ERIC document. If a scale does not satisfy these criteria, but its development is the focus of an article or ERIC document, it is included, as are scales that are unusual or pertain to a topic that would otherwise receive inadequate coverage in this handbook. The scale descriptions follow a standard format that includes the following information: title; author or authors as listed in the earliest publication mentioning the scale; earliest date that the scale is mentioned in a publication; profile of variable being measured; type of instrument; description; sample items; previous and appropriate subjects; scoring information; a description of the development of the measure; information regarding reliability and validity; and a listing of published studies that use the measure. This important new handbook promises to make several important contributions to gender-related research. It will make it easier for researchers to locate quality instruments appropriate for their research, discourage the proliferation of substandard or redundant measures, set some minimal standards for measures used in gender role research, and encourage more research regarding gender roles. All social science libraries will want to find a place for it in their reference collections.

The battle between the sexes has raged on for centuries; however, are men and women really from different planets? In The Gendered Society Reader, Fourth Edition, coeditors Michael Kimmel and Amy Aronson pull together an array of dynamic voices--both male and female, classic and contemporary--to examine various interpretations of gender. These lively, in-depth readings explore gender discourse over a wide range of disciplines, focusing primarily on two central issues: difference and domination. Carefully balanced to reflect the diversity of its subject, this text addresses provocative and fundamental questions including: * How are males and females different? * What do these differences mean? * How do various cultures and religions interpret gender? * Why do societies continue to differentiate people on the basis of gender? * Why is it that almost every known society is based on male domination? This reader mirrors the intuitive structure of Kimmel's companion volume, The Gendered Society, Fourth Edition. The first sections are arranged by discipline, presenting analyses of theoretical perspectives and research inquiries. The final sections examine the often fraught relationships between gender and education, the workplace, the media, the body, the family, love, sex, and violence. The celebrated contributors include Peggy Reeves Sanday, Judith Lorber, Robert M. Sapolsky, Scott Coltrane, and many more. Thoroughly updated with rich and timely new material, the fourth edition features twenty-one new selections, including three essays in a new section on religion, four new selections on gender and the media, and a new article on non-heterosexual families. This edition is also supplemented by an Instructor's Manual/Test Bank, which includes discussion questions. A popular and now classic text, The Gendered Society Reader, Fourth Edition, is both informative and entertaining; it is required reading for students, scholars, and anyone curious about the fascinating study of gender. Michael Kimmel's textbook, The Gendered Society, Fourth Edition (OUP, 2010), provides a perfect complement for classroom use. PACKAGE the textbook and the reader together and save your students 20%! Please call Customer Service at 800.280.0280 for details.

Rather than simply examining gender differences in student performance, this book presents various aspects and considerations of gender equity in classroom teaching through conversations with and observations of eight teachers. It highlights the differences between teacher beliefs and practices, shows how educational institutions contribute to the formation or development of those beliefs and practices, and describes how individual teachers within those institutions can and do combat the inequities resulting from gender socialization.