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Eiseman, Selise E. and Ira Lurvey. “Divorce Goes to the Movies.” University of San Francisco
Law Review 30.4 (1996) 1209-1219. (available at http://tarlton.law.utexas.edu/lpop/etext/
usf/lurvey30.htm)
In this article, Eisemen and Lurvey trace the history of divorce as depicted in cinema. They highlight individual roles, especially those that garnered critical acclaim, that dealt with the issues of divorce. Furthermore, they identify how the presentations of divorced changed in ways that paralleled industry, social, and political changes. During the silent era, films depicted divorce as a tragedy. When talkies emerged, divorce had become a more widely accepted fact of
American life. In fact, in 1930 Norma Shearer won an Academy Award for her depiction of a wife who becomes very flirtatious out of frustration with her husband’s own flirtations. The movie industry’s attempts to not endorse divorce while still providing commentary on it caused several shifts in cinema standards on the topic. The article’s scope is very significant, as the movies discusses transcend genre, including westerns, comedies, dramas, and black satire. The article then focuses on The War of the Roses, a 1989 comedy/thriller about divorce. Through its analysis of The War of the Roses, the article raises a number of essential considerations regarding the relation between movie and reality. Furthermore, the movie and article pay special attention to the issue of family law and the judicial divorce proceedings that punctuate divorce.
This article is relevant to the research because it discusses a movie remarkably similar to Kramer vs. Kramer along with the industrial and social context it was made. Because The War of the Roses was release a decade after Kramer vs. Kramer, The War of the Roses is an heir to Kramer vs. Kramer in the divorce genre. However, the film is unique in its approach to the topic of divorce, and highlights the social changes that occurred during the time between the two movies. While the article only mentions Kramer vs. Kramer explicitly in passing, it does investigate the changes in the industry during the time period.
Law Review 30.4 (1996) 1209-1219. (available at http://tarlton.law.utexas.edu/lpop/etext/
usf/lurvey30.htm)
In this article, Eisemen and Lurvey trace the history of divorce as depicted in cinema. They highlight individual roles, especially those that garnered critical acclaim, that dealt with the issues of divorce. Furthermore, they identify how the presentations of divorced changed in ways that paralleled industry, social, and political changes. During the silent era, films depicted divorce as a tragedy. When talkies emerged, divorce had become a more widely accepted fact of
American life. In fact, in 1930 Norma Shearer won an Academy Award for her depiction of a wife who becomes very flirtatious out of frustration with her husband’s own flirtations. The movie industry’s attempts to not endorse divorce while still providing commentary on it caused several shifts in cinema standards on the topic. The article’s scope is very significant, as the movies discusses transcend genre, including westerns, comedies, dramas, and black satire. The article then focuses on The War of the Roses, a 1989 comedy/thriller about divorce. Through its analysis of The War of the Roses, the article raises a number of essential considerations regarding the relation between movie and reality. Furthermore, the movie and article pay special attention to the issue of family law and the judicial divorce proceedings that punctuate divorce.
This article is relevant to the research because it discusses a movie remarkably similar to Kramer vs. Kramer along with the industrial and social context it was made. Because The War of the Roses was release a decade after Kramer vs. Kramer, The War of the Roses is an heir to Kramer vs. Kramer in the divorce genre. However, the film is unique in its approach to the topic of divorce, and highlights the social changes that occurred during the time between the two movies. While the article only mentions Kramer vs. Kramer explicitly in passing, it does investigate the changes in the industry during the time period.
belongs to Prescriptive Gender Roles and Divorce in Kramer vs. Kramer project
tagged cinema divorce gender_roles the_war_of_the_roses by loganm ...on 10-APR-08
tagged cinema divorce gender_roles the_war_of_the_roses by loganm ...on 10-APR-08