Women, Pleasure, Film

What Lolas Want

  • Authors
  • Simon Richter

Table of contents

  1. Front Matter
    Pages i-xi
  2. Simon Richter
    Pages 13-20
  3. Simon Richter
    Pages 21-37
  4. Simon Richter
    Pages 39-50
  5. Simon Richter
    Pages 51-63
  6. Simon Richter
    Pages 65-78
  7. Simon Richter
    Pages 79-91
  8. Simon Richter
    Pages 93-101
  9. Simon Richter
    Pages 115-125
  10. Simon Richter
    Pages 127-136
  11. Simon Richter
    Pages 137-145
  12. Simon Richter
    Pages 147-155
  13. Simon Richter
    Pages 157-164
  14. Simon Richter
    Pages 165-178
  15. Simon Richter
    Pages 179-193
  16. Back Matter
    Pages 195-218

About this book


The Lola film is a distinct subgenre of the woman's film in which woman's claim to pleasure is entertained without recourse to the figure of the femme fatale. Lola embodies a recognizable set of characteristics through which over time a select group of directors, actors, and audiences have responded in ways that do not succumb to the imperatives of gender. There are over thirty-five Lola films, starting with Marlene Dietrich in The Blue Angel: many are German, others are French, American, British, Italian, and Spanish, but her claim has also resonated in Argentina, China, Egypt, Mexico, Thailand, and the Philippines. Lola can be working class, lesbian, transgender, ethnic, suburban, or any combination. This book examines Lola as a specific and enduring aspect of the early twentieth-century "new woman": woman's forthright claim to pleasure on her own terms, liberated, if only as a cinematic fantasy, from the usual constraints of sex and gender.


film gender women

Bibliographic information