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Gossip, Women, Film, and Chick Flicks

  • Book
  • © 2017

Overview

Authors:
  1. Sarah-Mai Dang

    1. Berlin, Germany

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  • focuses on subject matters of gossip and chick flicks, which are mostly disregarded and yet undertheorized
  • shows that gossip is a productive perspective for analyzing chick flicks which emphasize verbal expression
  • explores gossip both as a form of perception in order to relate to the world and as a mechanism of power that creates and structures society

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Table of contents (5 chapters)

  1. Front Matter

    Pages i-xii
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  2. Introduction

    • Sarah-Mai Dang
    Pages 1-7

  3. Gossip as an Organizing Principle of Social Order and Perception

    • Sarah-Mai Dang
    Pages 9-14

  4. Easy A—“A is for Awesome”

    • Sarah-Mai Dang
    Pages 15-43

  5. Emma—“A Match Well Made, a Job Well Done”

    • Sarah-Mai Dang
    Pages 45-66

  6. A Matter of Perspective

    • Sarah-Mai Dang
    Pages 67-71

  7. Back Matter

    Pages 73-75
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Keywords

About this book

This book addresses the relationship between gossip, women, and film with regards to the genre of chick flicks. Presenting two case studies on the films Easy A (Will Gluck 2010) and Emma (Douglas McGrath 1996), Dang demonstrates that hearsay plays a defining role in the staging of these films and thus in the film experience. While the lack of women’s voices in the general public sphere remains an issue, the female voice is very present in the contemporary woman’s film. In its analysis of gossip, this book focuses on a form of communication that has traditionally been assigned to women and is consequently disregarded. Dang provides a theoretical framework for the understanding of speech acts in the popular, yet undertheorized, genre of chick flicks.

Authors and Affiliations

  • Berlin, Germany

    Sarah-Mai Dang

About the author

Dr Sarah-Mai Dang is a Research Assistant at the Department of Media Studies at the University of Bayreuth, Germany. Previously, she worked at the Collaborative Research Center “Aesthetic Experience and the Dissolution of Artistic Limits” (SFB 626) and at the Department for Film Studies, both at Freie Universität Berlin, Germany.

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