An entertaining guide to women's favorite movies offers keen insights into the elements that constitute a "Chick Flick," along with recommendations for every day of the year, suggestions for must-have DVDs, inside Hollywood gossip, photographs, and more. Original. 15,000 first printing.

The Rough Guide to Chick Flicks is a lively guide to the movies women love, from melodramas to biopics, thrillers to rom-coms. Sassy, informed and occasionally unexpected, it celebrates women's films of every kind. The history: Silent sirens, screwball dames, blonde bombshells, power dressers and indie chicks, The must-sees: The lowdown on 50 essential women's movies, from Breakfast At Tiffany's and Bend It Like Beckham to Pretty Woman and The Piano - with a fair few surprises thrown in, The faces: Heroines and heart-throbs from Audrey Hepburn to Julia Roberts, Cary Grant to Hugh Grant, not forgetting key writers, directors and custome designers, Chick lit and chick flicks: Tracing the relationship between the books and the movies, with juicy back stories about the best women writers from Louisa May Alcott to Virginia Woolf, Women of the world: Historical classics and contemporary hits from countries as different as Australia and Iran. Cover photo: Tara Morice in Strictly Balroom. Book jacket.

Part journalistic chronicle, part memoir, and 100% pure cultural historical odyssey, "Chick Flicks" captures the birth and growth of feminist film as no other book has done. 22 photos.

Written with the flair that has made Jami Bernard one of the most influential film critics in the country, Chick Flicks is a celebration of the films women love to watch, cleverly organized into categories, such as Catfights (All About Eve), Emotional Rescue (Piano), Female Bonding (Enchanted April), Tearjerkers (Ghost), and Funny Girls (When Harry Met Sally). Illustrated with photos throughout.

With 11 original essays, this edited volume examines 'chick flicks' within the larger context of 'chick culture' as well as women's cinema. The essays consider chick flicks from a variety of angles, touching on issues of film history, female sexuality, femininity, age, race, ethnicity, and consumerism.

More than a movie rental guide, this book is arranged to address universal themes such as love complications, troubled friendships, family strife, body image angst, and more--a true manual for finding the answers to life's questions through film. Two-color illustrations throughout.

An innovative collection of original essays on Jane Campion, renowned female auteur filmmaker. In Jane Campion: Cinema, Nation, Identity a diverse group of contributors challenge the view that Campion's body of work lacks coherence or unity to instead examine the important characteristics and themes that underlie it. Editors Hilary Radner, Alistair Fox, and Irène Bessière have compiled rich, original scholarship on Campion's oeuvre to probe issues previously neglected by scholars--like her debt to New Zealand sources and her personal views of family dynamics--and those that benefit from additional insight--such as her place in the feminist filmmaking tradition. This volume also investigates Campion's distinct cinematic style in light of these issues to examine the source of her enduring cross-cultural and international appeal. Contributors in the first section explore the creation of subjectivity and identity in Campion's films, which include well-known works like The Piano and Holy Smoke, to trace the unique perspectives of Campion's characters and Campion herself as director. In the second section, essays analyze Campion's close relationship with literature and argue that the singular vision in her literary adaptations stems from her New Zealand background and her personal mythology. Contributors in the third section argue that while Campion devotes considerable attention to the evocation of feminine internal space, she also uses the symbolic potential of her external physical locations to register what is taking place in the inner life of her characters and reflect their search for personal fulfillment. A final group of essays presents a variety of responses to Campion's films, demonstrating that Campion is a highly personal and idiosyncratic director who nonetheless manages to fascinate viewers across a broad cultural spectrum. Taken together, contributors in Jane Campion: Cinema, Nation, Identity present a compelling analysis of Campion's status as a leading female filmmaker with close attention to her distinctive cinematic style and particular mise-en-scène. The collective nature of this volume will appeal to students and teachers of film, literature, and gender studies, as well as fans of Campion's work.