Heather Laing examines, for the first time, the issues of gender and emotion that underpin the classical style of film scoring, but that have until now remained unquestioned and untheorized, thus providing a benchmark for thinking on more recent and alternative styles of scoring. Many theorists have discussed this type of music in film as a signifier of emotion and 'the feminine', a capacity in which it is frequently associated with female characters. The full effect of such an association on either female or male characterization, however, has not been examined. This book considers the effects of this association by progress through three stages: cultural-historical precedents, the generic parameters of melodrama and the woman's film, and the narrativization of music in film through diegetic performance and the presence of musicians as characters. Case studies of specific films provide textual and musical analyses, and the genres of melodrama and the woman's film have been chosen as representative not only of the epitome of the Hollywood scoring style, but also of the narrative association of women, emotion and music. Laing leads to the conclusion that music functions as more than merely a signifier of emotion. Rather, it takes a crucial role in both indicating and determining how emotion is actually understood as part of the construction of gender and its representation in film.

This book makes an innovative contribution to the relatively young field of Queer Linguistics. Subscribing to a poststructuralist framework, it presents a critical, deconstructionist perspective on the discursive construction of heteronormativity and gender binarism from a linguistic point of view. On the one hand, the book provides an outline of Queer approaches to issues of language, gender and sexual identity that is of interest to students and scholars new to the field. On the other hand, the empirical analyses of language data represent material that also appeals to experts in the field. The book deals with repercussions of the discursive materialisation of heteronormativity and gender binarism in various kinds of linguistic data. These include stereotypical genderlects, structural linguistic gender categories (especially from a contrastive linguistic point of view), the discursive sedimentation of female and feminine generics, linguistic constructions of the gendered body in advertising and the usage of personal reference forms to create characters in Queer Cinema. Throughout the book, readers become aware of the wounding potential that gendered linguistic forms may possess in certain contexts.

Gendered Vulnerability examines the factors that make women politicians more electorally vulnerable than their male counterparts. These factors combine to convince women that they must work harder to win elections—a phenomenon that Jeffrey Lazarus and Amy Steigerwalt term “gendered vulnerability.” Since women feel constant pressure to make sure they can win reelection, they devote more of their time and energy to winning their constituents’ favor. Lazarus and Steigerwalt examine different facets of legislative behavior, finding that female members do a better job of representing their constituents than male members.

Seeing Through Music levels the critical playing-field between film-music and so-called 'serious music', reflecting upon gender-related ideas about music and modernism as much as about film. It proposes a history of twentieth-century music that would include the scores of a number of the major Hollywood movies discussed here.