和波莉和亨利在家里

IF 0.7 Q3 COMMUNICATION
Richard Abel
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引用次数: 0

摘要

这篇文章回答了这样一个问题:是什么区别了流行的德鲁喜剧(1915-1919)?首先,在本质上是情景喜剧的电影中,西德尼·德鲁(Sidney Drew)夫妇扮演一对白人中产阶级夫妇,他们因为一些问题或分歧而争吵不休,这些问题通常是小事,但有时不是,他们通过巧妙的欺骗来解决。其次,也是最重要的一点,德鲁夫人(1890-1925)不仅是一位颇有成就的喜剧演员,而且还是所有电影的编剧、导演或联合导演,最后还成为了一名制片人。在银幕上,她可能扮演了一个看似传统的妻子(但并不总是如此),但在幕后,她创作的故事对白人中产阶级的家庭生活进行了温和的取笑,并经常挑战那个时期盛行的父权制,尽管有些轻微的越界。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
At Home with Polly and Henry
This essay addresses the question: what distinguished the popular Drew comedies (1915–1919)? First, in what essentially were situation comedies, Mr. and Mrs. Sidney Drew played a white middle-class couple who squabbled over issues or disagreements, usually minor but sometimes not, that were resolved through deft deceptions. Second, and most important, not only was Mrs. Drew (1890–1925) an accomplished comedienne, but she also scripted all of the films, directed or codirected nearly as many, and eventually became a producer. While on screen she may have played a seemingly conventional wife (but not always), behind the scenes she created stories that poked gentle fun at white middle-class domestic life and often challenged, however lightly transgressive, the prevailing patriarchy of the period.
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来源期刊
Feminist Media Histories
Feminist Media Histories Arts and Humanities-History
CiteScore
0.70
自引率
0.00%
发文量
18
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