New PDF release: A Piece of My Heart: The Stories of 26 American Women Who

By Keith Walker

Documents the stories of a warfare within the phrases of these girls brave adequate to stroll into hell. --San Francisco Chronicle

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Additional info for A Piece of My Heart: The Stories of 26 American Women Who Served in Vietnam

Sample text

The couple argue and visit their lawyer who provides them with an agreement to communicate only via written notes. Guy introduces another misunderstanding to resolve the first: the maid is locked out during a party, and attempts to re-enter via the cellar. Thinking that they are being burgled, the woman fetches a gun which the man pulls on the maid. In the ensuing laughter, everything is explained. The film is a matrix of divisions and continuities along the lines of class and gender. Its locations, which include the office where the man works, the dining room, kitchen and parlour of the house, and the office of the couple's lawyer, shift and alternate between the worlds of work and family, emphasising the different social roles of the characters, including women who work - the stenographer in the office and the maid in the kitchen - and women who don't - the wife, her mother and the female party guests.

Mayne 1994:131) 35 SHORTCUTS Arzner uses dance dialectically to represent the women's economic and sexual dilemmas: Bubbles dances to attract men, performing stereotypical female sexuality; Judy dances for artistic self-expression, attracting a man incidentally (insofar as such a thing could ever be incidental in a Hollywood film) but both are ultimately in pursuit of money and social mobility. Moreover, as Mayne points out, the two styles are synthesised in the rehearsal of the American Ballet Company, which segues from traditional ballet into vibrant modern dance incorporating street styles.

I don't want to maintain that outsideness' (1984: 194). Returning the compliment, Hollywood modernised its output by assimilating artistic strategies - and personnel - from alternative cinema. Love Letters (1983) directed by Amy Jones for RogerCorman's New World Pictures (the year after making her directing debut with Slumber Party Massacre), is a revisionist woman's film produced by an exploitation company with upmarket ambitions and a surprising reputation for feminism. High artistic aspirations are signalled by art-world references as glaring as product placements: the title sequence shows letters burning on a hotplate, invoking the similar burning of photographs in Hollis Frampton's avant-garde classic (nostalgia) (1971); John Berger's Permanent Red appears as a coffee table book; Walter Benjamin's famous essay 'The Work of Art in the Age of Mechanical Reproduction' comes up in conversation.

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A Piece of My Heart: The Stories of 26 American Women Who Served in Vietnam by Keith Walker


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