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.