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dc.contributor.authorSimpson, Daniel
dc.contributor.otherQueen's University (Kingston, Ont.). Theses (Queen's University (Kingston, Ont.))en
dc.date.accessioned2019-07-30T21:08:12Z
dc.date.available2019-07-30T21:08:12Z
dc.identifier.urihttp://hdl.handle.net/1974/26444
dc.description.abstractPre-Code Hollywood has famously been described as an alternative universe of American cinema, as looser censorship restrictions allowed filmmakers to explore adult themes of violence and sexuality far more openly than would be permissible under Joseph Breen and the Production Code Association. My thesis addresses how this era gave rise to a proto-feminist cinema through the transgression of Production Code rules pertaining to gender and sexuality. Though the Pre-Code era was no stranger to virulently misogynistic works, the lack of strict censorship allowed filmmakers to put forth depictions of independent women who were sexually active and in control of their lives. The epitome of this archetype is Mae West, who not only portrayed sex sirens with tremendous agency on-screen, but also took an active role behind-the-scenes as a screenwriter and should be considered the primary author of her films. Though West’s independence on and off-screen would diminish as the Pre-Code era ended, her work remains a trove of proto-feminist cinema through its subversion of male gaze and its consideration of a female spectator. Understanding West’s films, and the era which produced them, helps provide insight on the challenges faced by women in Hollywood, and more specifically, how women-centric art is often devalued and dismissed.en_US
dc.language.isoenen_US
dc.relation.ispartofseriesCanadian thesesen
dc.rightsQueen's University's Thesis/Dissertation Non-Exclusive License for Deposit to QSpace and Library and Archives Canada*
dc.rightsProQuest PhD and Master's Theses International Dissemination Agreement*
dc.rightsIntellectual Property Guidelines at Queen's University*
dc.rightsCopying and Preserving Your Thesis*
dc.rightsThis publication is made available by the authority of the copyright owner solely for the purpose of private study and research and may not be copied or reproduced except as permitted by the copyright laws without written authority from the copyright owner.*
dc.rightsAttribution-NoDerivs 3.0 United States*
dc.rights.urihttp://creativecommons.org/licenses/by-nd/3.0/us/*
dc.subjectCultural Studiesen_US
dc.subjectFilmen_US
dc.subjectMedia Studiesen_US
dc.subjectClassic Hollywooden_US
dc.subjectProduction Codeen_US
dc.subjectMae Westen_US
dc.titleHays Gone By: The Proto-Feminism of Pre-Code Hollywood and the Films of Mae Westen_US
dc.typethesisen
dc.description.degreeMaster of Artsen_US
dc.contributor.supervisorBertrand, Karine
dc.contributor.departmentCultural Studiesen_US


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Queen's University's Thesis/Dissertation Non-Exclusive License for Deposit to QSpace and Library and Archives Canada
Except where otherwise noted, this item's license is described as Queen's University's Thesis/Dissertation Non-Exclusive License for Deposit to QSpace and Library and Archives Canada