Popular Culture Review Vol. 2, No. 2, July 1991 | Page 43
Lessons From Hollywood
35
considering its effect on an audience, and the parameters of those
reactions.
Finally, I suggest that, like the film critics discussed in this
paper, theatrical populists could gain a great deal from a recognition
of the likely continuing nature of the primary position of the
dominant, commercial theatre, at least in terms of reaching larger
audiences, and a willingness to simultaneously recognize the
problematic nature of hegemony and an ideology that represents only
the interests of a narrow, ruling class, coupled with a willingness to
work within these parameters to establish channels of discourse in a
apparently hostile territory.
Northern Illinois University
Christopher N. Jones
Endnotes
1. Laura Mulvey, "Visual Pleasure and Narrative Cinema,"
Screen 16, no. 3,6.
2. Ibid.
3. Sue-EUen Case, Feminism and Theatre (London: Macmillan,
1988), p. 119.
4. Ibid.
5. Ibid., 132.
6. Helene Keyssar, Feminist Theatre (London: Macmillan, 1984),
pp. 148-167.
7. Ibid., p. 148.
8. Ibid., p. 153.
9. Ibid., p. 150.
10. Karen Malpede, Women in Theatre (New York: Drama Book
Publishers, 1983), p. xiii.
11. Dolan, The Feminist Spectator as Critic (Ann Arbor: UMI
Research Press, 1988), p.19.
12. Ibid., p. 27.
13. Lucie Arbuthnot, Main Trends in Feminist Criticism: Film,
Literature, Art History - the Decade of the Seventies (Ann Arbor:
University Microfilms International, 1982), p. 229.