Abstract
Barbra Streisand’s rise to cinematic superstardom coincides with the New Hollywood period of the late 1960s and 1970s. Her debut film, Funny Girl, was the highest-grossing film of 1968, and Hello, Dolly! (1969), On a Clear Day You Can See Forever (1970), The Owl and the Pussycat (1970), What’s Up, Doc? (1972), The Way We Were (1973), Funny Lady (1975), A Star Is Born (1976), and The Main Event (1979) all number among the most commercially successful films in their years of release. And yet, despite her box office clout, she rarely figures in historical accounts of this period of American filmmaking. From the beginning of her cinematic career, speculation over the degree of creative control she wielded over her projects became a source of notoriety...
| Original language | English |
|---|---|
| Title of host publication | Women and New Hollywood |
| Subtitle of host publication | Gender, Creative Labor, and 1970s American Cinema |
| Editors | Aaron Hunter, Martha Shearer |
| Place of Publication | New Jersey, NJ. |
| Publisher | Rutgers University Press |
| Chapter | 4 |
| Pages | 63-78 |
| Number of pages | 16 |
| ISBN (Electronic) | 9781978821811, 9781978821835 |
| ISBN (Print) | 9781978821798, 9781978821804 |
| DOIs | |
| Publication status | Published - 2023 |
Keywords
- Barbra Streisand
- cinematic representation
- American filmmaking
- feminist film studies
- second-wave feminism