By Tamar Jeffers MacDonald, Alisia Grace Chase, Andrea Sabbadini, Carol Siegel, Celestino Deleyto, Gaylyn Studlar, Greg Tuck, Ilana Nash, Lisa M. Dresner, Nina K. Martin, Pete Falconer, Rebecca Sullivan, Shelley A. Cobb, Timothy Shary
In Virgin Territory participants think about virginity because it is produced and advertised in movie. With chapters that span a variety of sessions, genres, and performances, this assortment proves that even though it sounds like an noticeable caliber firstly look, virginity in movie is whatever yet easy. The essays in Virgin Territory destabilize assumptions approximately virginity and fasten moments of virginity in movie to their higher social significance.
Editor Tamar Jeffers McDonald has assembled various contributions via famous movie students to contemplate virginity from quite a few views, together with either the female and male quest to lose virginity, the function of virginity in horror movie, problems with sexual business enterprise and hope in either old and modern depictions of virginity, and the problems of self-pleasure and masturbation. movies thought of contain classics of the construction Code period, like Marjorie Morningstar, Pillow speak, and Bonjour Tristesse, in addition to newer movies like Porky's, Losin' It, speedy occasions at Ridgemont excessive, American Pie, The 40-Year-Old Virgin, and frightening motion picture. participants additionally reflect on specific stars like Elizabeth Taylor and Doris Day to enquire the location of virginity on an actor's actual body.
throughout diverse eras and genres, diverse motion pictures have varied tools of representing virginity, hoping on dress, mise-en-scène, and function to exhibit the virgin prestige, whereas a few movie stars are linked to the standard to either the furtherance, and the disappointment, in their careers. Virgin Territory explores the contrasts and continuities in movies' makes an attempt at representing this inner nation to interesting impression. students of movie and tv background in addition to cultural stories will take pleasure in this crucial volume.
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Additional resources for Virgin Territory: Representing Sexual Inexperience in Film
33 Ilana Nash The Innocent Is a Broad American Virgins in a Global Context During the late 1930s and early 1940s, the figure of the teenage girl first began to appear as a staple in a new subgenre of Hollywood films: domestic comedies with teen protagonists. A social category newly discovered (or more properly, invented) in the twentieth century, “the teenager” grew in public visibility and in filmic representation to become one of the dominant American stock figures of comic narratives by the 1960s.
Instead, the heroines function as allegories representing a double abstraction: a beloved ideal and a dreaded threat. This doubling appears strongly in the characters of Janie Conway (Janie), Corliss Archer (Kiss and Tell), Scarlett Hazeltine (One, Two, Three), and Mollie Michaelson (Take Her, She’s Mine). This may seem an odd claim, as ideals and threats are complete opposites: one is the stuff of ardent dreams, and the other constitutes harrowing nightmares. But, like opposite ends of a seesaw, both rely on the same axis: the state of the girls’ virginity.
Although Taylor and McDowall appear no older, their stances are more mature. He holds her from behind lightly and points authoritatively into the distance as she smiles and holds a bouquet. A lap dissolve indicating the passage of time holds them in the same position but replaces McDowall and Taylor in close-up with more mature ingénue actors, Peter Lawford and June Lockhart. The latter, while clearly older than Taylor, appears less beautiful and significantly less sensual. At this moment, audiences may realize they have just witnessed how on-screen girlhood, embodied by Elizabeth Taylor, has threatened to “speak” the fragile boundary between adult sexual desire and the virgin child, the taboo object.