Greta Gerwig, Representation, and the Universal Girl

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SOURCES:

Simone de Beauviour, “Introduction” in The Second Sex, Knopf Doubleday Publishing Group (1949).

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Silvia Bovenschen, “Is There a Feminine Aesthetic?” New German Critique, no.10 (1977). 

Monica Castillo, “Why ‘Real Women Have Curves’ Never Got Its ‘Lady Bird’ Moment” The New York Times (2018).

Mary Ann Doane , “Film and the Masquerade: Theorizing the Female Spectator” Screen, Volume 23 (1982).

Julie Drew Cultural Composition: Stuart Hall on Ethnicity and the Discursive Turn Jac, (1988).

Caitlin Flanagan, “Little Women’s Real Feminist Problem,” The Atlantic (2020).

Kaitlyn Greenidge, “The Bearable Whiteness of ‘Little Women’” The New York Times (2020).

Heven Haile, “Coming of Age So White: Lady Bird and Real Women Have Curves as Tributes to Messy Young Women” Medium (2021).

Stuart Hall, “Cultural Identity and Cinematic Representation” Framework: The Journal of Cinema and Media No. 36 (1989).

Stuart Hall, “Cultural Identity and Diaspora” in Undoing Place? Routledge (1997).

bell hooks, “The Oppositional Gaze: Black Female Spectators” Black Looks: Race and Representation (1992).

David Kaufman, “The success of “Lady Bird” shows white stories can work half as hard for twice the acclaim,” Quartz (2017).

Anika Kaul, “Greta Gerwig and White Feminism in Film,” Varsity (2021).

Christian Metz, The Imaginary Signifier: Psychoanalysis and the Cinema, Indiana University Press (1982).

Geetha Ramanathan, Feminist Auteurs: Reading Women's Films, Wallflower Press (2006).

Brandon Taylor, “a little life is not your father” Substackd (May 25 2022).

Awra Tewolde-Berhan, “Girlhood - A Review: Fatally Flawed Examination of a Young Black Girl’s Life” What’s On Africa (2015).

Patricia White, “Ambidextrous Authorship: Greta Gerwig and the Politics of Women’s Genres” LA Review of Books (2020).

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