Leibman, Nina C. “Sexual Misdemeanor/Psychoanalytic Felony.” Cinema Journal, 26.2 (Winter,    1987):    27-38. University of Texas Press. University of Pennsylvania Library, Philadephia. 7 April 2008. <http://hdl.library.upenn.edu/1017/6965/2>.

In this article, Leibman analyzes the deterioration of Blanche’s mental health, and relates it to both Freudian theory and inherent sexism in Hollywood. A specialist of psychoanalysis in film theory, Leibman comments on the rising predominance of women in Freudian-oriented films after the 1950s. To her, sex and sexuality appear to be the essential factors for a heroine’s mental illness, and a protagonist falling victim to her own sexuality is no exception in Streetcar. Though the actual cause of Blanche’s developing insanity is unknown to audiences, Leibman believes that her promiscuity is what ultimately leads to her downfall. Taking psychiatry into account, Leibman believes that Hollywood maintains an inherent patriarchal status quo by ignoring Freud’s theories of repression and neurosis. Freud states that it is important to release our repressed sexual thoughts in order to avoid any form of psychosis—and because Blanche does not succeed in liberating these notions, she is essentially “punished” for her restraint through expulsion from her hometown and family, along with paranoia and other forms of mental illness.
Even though Blanche continually professes her innocence, all her of claims are nullified by her behavior. However, because viewers hear of these improprieties indirectly, it is harder for her to earn an audience’s sympathy. In comparison, Leibman claims that Stella, who may initially seem to embody an almost longing for her husband, is also victim to this psychological sexism. While her attraction to Stanley is blatant, the fact that she loves him rather than lusts for him reemphasizes the fact that desire is what “destroys” women. Thus, Leibman argues that because Stella is passive she is feminine, while Blanche’s overt sexuality keeps her from traditionally female ideals, such as a calm, selfless, nurturing disposition. Though Leibman’s claims may not be grounded in fact, she provides a provocative counterargument for those who celebrate Streetcar’s progressive representations of modern society.
 

Leibman, Nina C. “Sexual Misdemeanor/Psychoanalytic Felony.” Cinema Journal, 26.2 (Winter,    1987):    27-38. University of Texas Press. University of Pennsylvania Library, Philadephia. 7 April 2008. <http://hdl.library.upenn.edu/1017/6965/2>.

 In this article, Leibman analyzes the deterioration of Blanche’s mental health, and relates it to both Freudian theory and inherent sexism in Hollywood. A specialist of psychoanalysis in film theory, Leibman comments on the rising predominance of women in Freudian-oriented films after the 1950s. To her, sex and sexuality appear to be the essential factors for a heroine’s mental illness, and a protagonist falling victim to her own sexuality is no exception in Streetcar. Though the actual cause of Blanche’s developing insanity is unknown to audiences, Leibman believes that her promiscuity is what ultimately leads to her downfall. Taking psychiatry into account, Leibman believes that Hollywood maintains an inherent patriarchal status quo by ignoring Freud’s theories of repression and neurosis. Freud states that it is important to release our repressed sexual thoughts in order to avoid any form of psychosis—and because Blanche does not succeed in liberating these notions, she is essentially “punished” for her restraint through expulsion from her hometown and family, along with paranoia and other forms of mental illness.
Even though Blanche continually professes her innocence, all her of claims are nullified by her behavior. However, because viewers hear of these improprieties indirectly, it is harder for her to earn an audience’s sympathy. In comparison, Leibman claims that Stella, who may initially seem to embody an almost longing for her husband, is also victim to this psychological sexism. While her attraction to Stanley is blatant, the fact that she loves him rather than lusts for him reemphasizes the fact that desire is what “destroys” women. Thus, Leibman argues that because Stella is passive she is feminine, while Blanche’s overt sexuality keeps her from traditionally female ideals, such as a calm, selfless, nurturing disposition. Though Leibman’s claims may not be grounded in fact, she provides a provocative counterargument for those who celebrate Streetcar’s progressive representations of modern society.
 

Leibman, Nina C. “Sexual Misdemeanor/Psychoanalytic Felony.” Cinema Journal, 26.2 (Winter,    1987):    27-38. University of Texas Press. University of Pennsylvania Library, Philadephia. 7 April 2008. <http://hdl.library.upenn.edu/1017/6965/2>.

 In this article, Leibman analyzes the deterioration of Blanche’s mental health, and relates it to both Freudian theory and inherent sexism in Hollywood. A specialist of psychoanalysis in film theory, Leibman comments on the rising predominance of women in Freudian-oriented films after the 1950s. To her, sex and sexuality appear to be the essential factors for a heroine’s mental illness, and a protagonist falling victim to her own sexuality is no exception in Streetcar. Though the actual cause of Blanche’s developing insanity is unknown to audiences, Leibman believes that her promiscuity is what ultimately leads to her downfall. Taking psychiatry into account, Leibman believes that Hollywood maintains an inherent patriarchal status quo by ignoring Freud’s theories of repression and neurosis. Freud states that it is important to release our repressed sexual thoughts in order to avoid any form of psychosis—and because Blanche does not succeed in liberating these notions, she is essentially “punished” for her restraint through expulsion from her hometown and family, along with paranoia and other forms of mental illness.
Even though Blanche continually professes her innocence, all her of claims are nullified by her behavior. However, because viewers hear of these improprieties indirectly, it is harder for her to earn an audience’s sympathy. In comparison, Leibman claims that Stella, who may initially seem to embody an almost longing for her husband, is also victim to this psychological sexism. While her attraction to Stanley is blatant, the fact that she loves him rather than lusts for him reemphasizes the fact that desire is what “destroys” women. Thus, Leibman argues that because Stella is passive she is feminine, while Blanche’s overt sexuality keeps her from traditionally female ideals, such as a calm, selfless, nurturing disposition. Though Leibman’s claims may not be grounded in fact, she provides a provocative counterargument for those who celebrate Streetcar’s progressive representations of modern society.