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She focuses on the ways in which sexuality and maternity reconstruct the \"classic\" proletarian novel to speak about both the working-class woman and the radical female intellectual.\u003cbr\u003e\u003cbr\u003eTwo well-known novels bracket this study:  Agnes Smedley's \u003ci\u003eDaughters of Earth\u003c\/i\u003e (1929) and Mary McCarthy's \u003ci\u003eThe Company She Keeps\u003c\/i\u003e (1942).  In all, Rabinowitz surveys more than forty novels of the period, many largely forgotten.  Discussing these novels in the contexts of literary radicalism and of women's literary tradition, she reads them as both cultural history and cultural theory.  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Editors Corinn Columpar and Sophie Mayer have assembled scholarship that responds to women’s work in the interstices between different branches of the film industry, modes of filmmaking, national or transnational contexts, exhibition media, and varieties of visual representation in order to assess the exchanges such work enables.\u003cbr\u003e\n\u003cbr\u003e\nEssays in the first three sections of There She Goes explore connections at the level of curation and exhibition, while the subsequent four consider local connections such as those between the film and the audience or between works within an oeuvre, down to those occurring on the surface of the film. Contributors reach beyond traditional screen cinema to interact with a larger field of artistic production, including still photography, music videos, installation art, digital media, performance art, and dance.  Essays also pay particular attention to a variety of contextual factors that have shaped women’s filmmaking, from the conditions of production and circulation to engagement with various social movements and critical traditions, including, but not limited to, feminism.  \u003cbr\u003e\n\u003cbr\u003e\nBy foregrounding fluidity, There She Goes presents a an exciting new appraisal of feminist film culture, as well as the intellectual and affective potential it holds for filmmakers and filmgoers alike. 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A product of the turn toward revisionist \"quality\" television in the post-broadcast era, \u003cem\u003eThe Killing\u003c\/em\u003e also stands as a pioneering example of the changing gender dynamics of early twenty-first-century television. Author John Alberti looks at how the show's focus shifts the police procedural away from the idea that solving the mystery of whodunit means resolving the crime, and toward dealing with the ongoing psychological aftermath of crime and violence on social and family relationships. 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Feuillade’s work raises significant questions of cinema authorship, film history, and film aesthetics, all of which are examined in Vicki Callahan’s groundbreaking work Zones of Anxiety, the first study to address the crime serials of Louis Feuillade from a feminist perspective.\u003cbr\u003e\n\u003cbr\u003e\nZones of Anxiety merges cultural history and feminist film theory, arguing for a different kind of film history, a \"poetic history\" that is shaped by the little-examined cinematic mode of \"uncertainty.\" Often obscured by film technique and film historians, this quality of uncertainty endemic to the cinema comes in part from the formal structures of repetition and recursion found in Feuillade’s serials. However, Callahan argues that uncertainty is also found in the \"poetic body\" of the actress Musidora who is featured in two of the serials. 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Their talent and brave spirit continues to be felt today, and \u003cem\u003eComic Venus: Women and Comedy in American Silent Film\u003c\/em\u003e seeks to provide a better understanding of women's experiences in the early twentieth century, and to better understand and appreciate the unruly and boundary-breaking women who have followed.\u003c\/p\u003e\u003cp\u003eThe diversity and breadth of archival materials explored in \u003cem\u003eComic Venus\u003c\/em\u003e illuminate the social and historical period of comediennes and silent film. In four sections, Kristen Anderson Wagner enumerates the relationship between women and comedy, beginning with the question of why historically women weren't seen as funny or couldn't possibly be funny in the public and male eye, a question that persists even today. 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