MARC Record from marc_columbia

LEADER: 02088fam a2200421 a 4500
001 1766587
005 20220608231450.0
008 951016s1996 ncua b 000 0 eng
010 $a 95045942
020 $a0822317516 (cl : alk. paper)
020 $a0822317486 (pa : alk. paper)
035 $a(OCoLC)33407094
035 $a(OCoLC)ocm33407094
035 $9ALJ0562CU
035 $a(NNC)1766587
035 $a1766587
040 $aDLC$cDLC$dNNC$dOrLoB-B
050 00 $aPN1995.9.W6$bR52 1996
082 00 $a791.43/6335$220
100 1 $aRobertson, Pamela,$d1964-
245 10 $aGuilty pleasures :$bfeminist camp from Mae West to Madonna /$cPamela Robertson.
260 $aDurham :$bDuke University Press,$c1996.
263 $a9606
300 $aix, 195 pages :$billustrations ;$c24 cm
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
500 $aOriginally presented as the author's thesis (Ph.D.--University of Chicago).
504 $aIncludes bibliographical references.
505 00 $tIntroduction. What Makes the Feminist Camp? --$g1.$t"The Kinda Comedy Where They Imitate Me": Mae West's Identification with the Feminist Camp --$g2.$tWhat Trixie and God Know: Feminist Camp in Gold Diggers of 1933 --$g3.$tCamping under Western Stars: Joan Crawford in Johnny Guitar --$g4.$tDoes Feminist Camp Make a Difference? or, What We Talk about When We Talk about Madonna --$tConclusion. The Queens Are Dead, Long Live the Queens.
650 0 $aWomen in motion pictures.$0http://id.loc.gov/authorities/subjects/sh85147593
650 0 $aFeminism and motion pictures.$0http://id.loc.gov/authorities/subjects/sh85047748
650 0 $aSelf-presentation.$0http://id.loc.gov/authorities/subjects/sh86001740
650 0 $aImpersonation.$0http://id.loc.gov/authorities/subjects/sh85064632
600 10 $aWest, Mae$xCriticism and interpretation.
600 10 $aCrawford, Joan,$d1908-1977$xCriticism and interpretation.
600 00 $aMadonna,$d1958-$xCriticism and interpretation.
852 00 $bglx$hPN1995.9.W6$iR52 1996
852 00 $bbar$hPN1995.9.W6$iR52 1996