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The 1990's saw the emergence of a new kind of American cinema, which this book calls the "new brutality film." Violence and race have been at the heart of Hollywood cinema since its birth, but the new brutality film was the first kind of popular American cinema to begin making this relationship explicit. The rise of this cinema coincided with the rebirth of a long neglected strand of film theory, which seeks to unravel the complex relations of affect between the screen and the viewer. This book analyses and connects both of these developments, arguing that films like Falling Down, Reservoir Dogs,

Motion pictures --- Violence in motion pictures. --- Violence in moving-pictures --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- Social aspects --- History and criticism

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In The Violent Woman, Hilary Neroni brings psychoanalytically informed film theory to bear on issues of femininity, violence, and narrative in contemporary American cinema. Examining such films as Thelma and Louise, Fargo, Natural Born Killers, and The Long Kiss Goodnight, Neroni explores why American audiences are so fascinated—even excited—by cinematic representations of violent women, and what these representations reveal about violence in our society and our cinema. Neroni argues that violent women characters disrupt cinematic narrative and challenge cultural ideals, suggesting how difficult it is for Hollywood—the greatest of ideology machines—to integrate the violent woman into its typical narrative structure.

Women in motion pictures. --- Violence in motion pictures. --- Motion pictures --- Violence in moving-pictures --- Developmental psychology --- Depth psychology --- Social problems --- Sociology of the family. Sociology of sexuality --- Film --- United States --- United States of America --- Aggression --- Movies --- Violence --- Psychoanalysis --- Images of women --- Féminité --- Book