What happens to old movie stars, those faded queens of stage and screen? They move into hotels off Times Square maybe where they live among their souvenirs, near the lights, the people, the premieres that no longer know them -- funny old ladies with hair a pink frizz salvaging old costumes for street clothes.
-- Edward Field
Over the past decade, with the advent of feminist film criticism, there has been a great deal written about the representation of women in the Hollywood cinema. A book on film noir, for example, analyzes the role of the forties femme fatale in works like The Blue Gardenia ( 1953), Double Indemnity ( 1944), Gilda ( 1946) and The Lady From Shanghai ( 1947). 1 Taking a broader perspective, Marjorie Rosen's Popcorn Venus and Molly Haskell From Reverence to Rape examine Hollywood's stereotypes against the backdrop of American cultural history. 2 In recent years, criticism has taken a decidedly more psychoanalytic thrust. Laura Mulvey invokes the syndrome of fetishism in describing the male-oriented screen portrayal of women in the classical Hollywood narrative. 3 And Mary