The Wages of Sin: Censorship and the Fallen Woman Film, 1928-1942
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Von Händler/Antiquariat, Better World Books.
Univ of Wisconsin Pr. Used - Good. Former Library book. Shows some signs of wear, and may have some markings on the inside. 100% Money Back Guarantee. Shipped to over one million happy customers. Your purchase benefits world literacy!

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The story of the fallen woman was a staple of film melodrama in the late 1920s and 1930s. In traditional plots, a woman commits a sexual transgression, usually adultery. She becomes an outcast, often a prostitute, suffering humiliations that culminate in her death. In more modern variants, the heroine is a stereotypical "kept woman," "gold digger," or wisecracking shopgirl who uses men to become rich. In The Wages of Sin, Lea Jacobs uses the fallen woman film, which served as a focal point for public criticism of the film industry, to explore Hollywood's system of self-censorship and the evolution of the rules governing representations of sexuality. Drawing on the extensive case files of the Motion Picture Producers and Distributors of America (MPPDA), the industry trade association responsible for censorship, Jacobs focuses on six films. Her close analyses of The Easiest Way, Baby Face, Blonde Venus, Anna Karenina, Kitty Foyle, and Stella Dallas reveal the ideology of self-regulation at work and the social constraints affecting the film industry.

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Lea Jacobs, Books, Entertainment, The Wages of Sin: Censorship and the Fallen Woman Film, 1928-1942, The story of the fallen woman was a staple of film melodrama in the late 1920s and 1930s. In traditional plots, a woman commits a sexual transgression, usually adultery. She becomes an outcast, often a prostitute, suffering humiliations that culminate in her death. In more modern variants, the heroine is a stereotypical kept woman, gold digger, or wisecracking shopgirl who uses men to become rich. In The Wages of Sin, Lea Jacobs uses the fallen woman film, which served as a focal point for public criticism of the film industry, to explore Hollywood's system of self-censorship and the evolution of the rules governing representations of sexuality.Drawing on the extensive case files of the Motion Picture Producers and Distributors of America (MPPDA), the industry trade association responsible for censorship, Jacobs focuses on six films. Her close analyses of The Easiest Way, Baby Face, Blonde Venus, Anna Karenina, Kitty Foyle, and Stella Dallas reveal the ideology of self-regulation at work and the social constraints affecting the film industry.

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9780520207905,0520207904,wages,jacobs, A hand inspected Used copy of "Wages of Sin" by Lea Jacobs. Ships directly from Textbooks.com, Paperback, Shipping to USA only!

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Von Händler/Antiquariat, Wendys Books.
Chicago, Illinois, U.S.A.: Univ of Wisconsin Pr, 1991. Very slight edge wear and scuffing, light margin notes and underlining.. First Edition. Trade Paperback. Very Good. 8vo - over 7¾" - 9¾".

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Von Händler/Antiquariat, _nearfine_.
The story of the fallen woman was a staple of film melodrama in the late 20s and early 30s. In traditional versions of the plot a woman commits a sexual transgression, usually adultery. Expelled from the family, she becomes an outcast, often a prostitute, suffering various humiliations that usually culminate in her death. In more modern variants, the heroine is a stereotypical "kept woman", "gold-digger", or wise-cracking shopgirl who uses men to become rich. Recognized and defined rather loosely as a type, the fallen woman film, often called the "sex picture", became a lightning rod for regulation by the Motion Picture Producers and Distributors Association (MPPDA), the industry trade association responsible for censorship. "The Wages of Sin" uses the example of the fallen woman film to examine the institutional framework of industry self-regulation and to consider how the representation of sexuality was circumscribed within this context. Mining the extensive MPPDA files, Lea Jacobs reconstructs this process of self-regulation, focusing in particular upon six films that posed distinct problems for the MPPDA because they had encountered difficulties with state censors, or had provoked protest from reform groups. In her historical study, Jacobs combines a knowledge of recent film theory with readings of "The Easiest Way", "Babyface", "Blonde Venus", "Anna Karenina", "Kitty Foyle" and "Stella Dallas" to show the ideological processes of self-regulation at work and the social constraints under which the film industry operated. Industry self-regulation did not proceed by "cutting things out" of completed films, but rather by a process of negotiation between producers and industry censors about material that was thought to be potentially offensive in story treatments and scripts. They engaged in debates about how to promote ideal models of gender roles, marriage and family life within the constraints of the fallen woman genre. Jacobs demonstrates that the codification of censorship and the codification of the genre itself were inextricable. Paperback, Label: Univ of Wisconsin Pr, Univ of Wisconsin Pr, Produktgruppe: Book, Publiziert: 1991-06, Studio: Univ of Wisconsin Pr, Verkaufsrang: 12491644.

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arts music and photography,censorship,film and television,gender studies,history,history and criticism,humanities,humor and entertainment,military,movies, The story of the fallen woman was a staple of film melodrama in the late 1920s and 1930s. In traditional plots, a woman commits a sexual transgression, usually adultery. She becomes an outcast, often a prostitute, suffering humiliations that culminate in her death. In more modern variants, the heroine is a stereotypical "kept woman," "gold digger," or wisecracking shopgirl who uses men to become rich. In The Wages of Sin, Lea Jacobs uses the fallen woman film, which served as a focal point for public criticism of the film industry, to explore Hollywood's system of self-censorship and the evolution of the rules governing representations of sexuality.Drawing on the extensive case files of the Motion Picture Producers and Distributors of America (MPPDA), the industry trade association responsible for censorship, Jacobs focuses on six films. Her close analyses of The Easiest Way, Baby Face, Blonde Venus, Anna Karenina, Kitty Foyle, and Stella Dallas reveal the ideology of self-regulation at work and the social constraints affecting the film industry.

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Von Händler/Antiquariat, mygrandmasgoodies.
The story of the fallen woman was a staple of film melodrama in the late 20s and early 30s. In traditional versions of the plot a woman commits a sexual transgression, usually adultery. Expelled from the family, she becomes an outcast, often a prostitute, suffering various humiliations that usually culminate in her death. In more modern variants, the heroine is a stereotypical "kept woman", "gold-digger", or wise-cracking shopgirl who uses men to become rich. Recognized and defined rather loosely as a type, the fallen woman film, often called the "sex picture", became a lightning rod for regulation by the Motion Picture Producers and Distributors Association (MPPDA), the industry trade association responsible for censorship. "The Wages of Sin" uses the example of the fallen woman film to examine the institutional framework of industry self-regulation and to consider how the representation of sexuality was circumscribed within this context. Mining the extensive MPPDA files, Lea Jacobs reconstructs this process of self-regulation, focusing in particular upon six films that posed distinct problems for the MPPDA because they had encountered difficulties with state censors, or had provoked protest from reform groups. In her historical study, Jacobs combines a knowledge of recent film theory with readings of "The Easiest Way", "Babyface", "Blonde Venus", "Anna Karenina", "Kitty Foyle" and "Stella Dallas" to show the ideological processes of self-regulation at work and the social constraints under which the film industry operated. Industry self-regulation did not proceed by "cutting things out" of completed films, but rather by a process of negotiation between producers and industry censors about material that was thought to be potentially offensive in story treatments and scripts. They engaged in debates about how to promote ideal models of gender roles, marriage and family life within the constraints of the fallen woman genre. Jacobs demonstrates that the codification of censorship and the codification of the genre itself were inextricable. Hardcover, Label: University of Wisconsin Press, University of Wisconsin Press, Produktgruppe: Book, Publiziert: 1991-08-31, Studio: University of Wisconsin Press, Verkaufsrang: 17727712.

Lieferung aus: Vereinigte Staaten von Amerika, In voorraad.
arts music and photography,censorship,film and television,gender studies,history,history and criticism,humanities,humor and entertainment,military,movies, The Wages of Sin: Censorship and the Fallen Woman Film, 1928-1942 (Wisconsin Studies in Film), The story of the fallen woman was a staple of film melodrama in the late 20s and early 30s. In traditional versions of the plot a woman commits a sexual transgression, usually adultery. Expelled from the family, she becomes an outcast, often a prostitute, suffering various humiliations that usually culminate in her death. In more modern variants, the heroine is a stereotypical "kept woman", "gold-digger", or wise-cracking shopgirl who uses men to become rich. Recognized and defined rather loosely as a type, the fallen woman film, often called the "sex picture", became a lightning rod for regulation by the Motion Picture Producers and Distributors Association (MPPDA), the industry trade association responsible for censorship. "The Wages of Sin" uses the example of the fallen woman film to examine the institutional framework of industry self-regulation and to consider how the representation of sexuality was circumscribed within this context. Mining the extensive MPPDA files, Lea Jacobs reconstructs this process of self-regulation, focusing in particular upon six films that posed distinct problems for the MPPDA because they had encountered difficulties with state censors, or had provoked protest from reform groups. In her historical study, Jacobs combines a knowledge of recent film theory with readings of "The Easiest Way", "Babyface", "Blonde Venus", "Anna Karenina", "Kitty Foyle" and "Stella Dallas" to show the ideological processes of self-regulation at work and the social co.

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Von Händler/Antiquariat, Ergodebooks.
Univ of Wisconsin Pr, 1991-06. Paperback. Good. Buy with confidence. Excellent Customer Service & Return policy. Ships Fast. 24*7 Customer Service.