Gitchns, Dersis, dal (Eds.) Tk Rdajoay ogy of Adeflition. leken's Scarce cfow one 20 aolo. NINE TEACHING ADAPTATION VIA INTERTEXTUALITY The Stepford Wives, Postfeminism, and Avant-Garde Cinema Walter Metz ‘Teaching adaptation studies commonly devolves into students replicating. the impoverishment of the discipline itself: stucents latch onto the one- to-one logic of feity stuclies in orcier to write a case studly of one film’s relationship to its direct source novel. For this and many other reasons, my courses on the relationships between film and literature begin with Bakhtinian theory in order to demonstrate the power of an intertextual method for asking and answering profound questions about our contem- porary media environment, How do cultural artifacts allow us to think about our place in the world? Why do some texts speak to our social and political projects of self fashioning, while others work against our goals? In this chapter, I would like to explore the benefits of teaching adap- tation via an intertextual frame by focusing on the theory and criticism around the three texts of The Stepford Wives: ira Levin's 1972 novel, the 1975 film featuring Katharine Ross, and the 2004 remake starring Nicole Kidman. While David Bordwell and others attempt to render film stud- ies more scientific by questioning the interpretive basis ofthe discipline? in my classroom, I attempt to show students that Leslie Fiedler’s sense of eriticism, to say as many interesting things about the text as possible, remains the most valuable goal of adaptation analysis In his trilogy of recent adaptation books—Literature through Film, Lit erature and Film, and A Companion to Literature and Filni—Robert Stam has set himself the task of rethinking adaptation studies by reconceiving the topic via intertextual theory.’ To a remarkable degree, he has succeeded, rot so much in authoring a blisteringly new approach to the study of 10°Wolter Mets relationship between iterature and film, but in assembling 0 group thors whe of lgparete case studies of how studying interest tehips Between a iterature can lead to cemarkable fights The nate of cultural interdependene ty claaroom Tus one ase stacy trate and Fino age tat tly identifying one interpretive method for te adapted and source Seer not exhaust thei interest for ftuze cities. In “Serial Time Sood br Stepford” Bis Cue Lin advances « vistosic theoretical Jing ofthe relationship betveen ln Levin's novel The Seon! Wes Bigan Forbes 1975 fim adaptation. In bot ents, a woman, Joanne, secdored by her husband, Wale, who had maved her tothe suburbs Sates ao tt he ight replace her with « dil, subservient ot Stiowing Stan's line, Lim recs the overdetermination of the source seedbptnion studies, instead offering Inrge aca of sigicant se eee REG range from fokore Bluebeard and the Mil of Old opto cc theory (Carol Clover and Judith Haberstams analyses fe aguse ofthe Fired Gin 19705 hors fins) to the phenomenon Ss aimatonics inorder to rend the film. However he esay's soscopttion le ints application ofa theory of ine—Emst Bloc’ vee rpcheonis”=to the gene of he fantastic Lim redefines Dloch’s seme it "to designate a facured sense of ime evoked by the lon of competing contexts of experience, of discontinuous epste- “ogc pavedigns, in fata narratives "* cer a nonayachronous bjet in the Stepford husbands’ use of 2 SRntoncs to reploce their wives “Like Disney's Lincol, the “Tense women of Stepford fascinate and frighten because of thee GAiutive nonaynctvontom: they are both nostalgic and futuristic.” reetetsaes the ds noreynchtonism si fact he allegorial key to "fins Heologial message about feminism i the 1970: “Joanna’s dota sin Fe inability grasp the nonyconism of patvaschal same che dloparegs the Stepford wives and Tusbards as anachro- warliap'o apprette tne contraditions which make te posfble to oth nostalgic ne flyin the present the cae of the husbands), iRitancouy astern Woren an old-fashioned hnusaus (nthe ese theives) That it say Joanne, the eminit nthe text ike the fem iio ofthe 2970 lls into 6 tap by thinking hat bth men and women Sete they seem to enbrace the contemporary women’s movement) ot sere ong fora ime in oehich palriatchal power was uniques ded animals pine for a future world in which such patchy ould resurec Stel “he stenglh of Lin’s reading might suggest that the Hntertxtual ‘Bilis Sn The Stogord Woes os aste of adaptation have been thor Teaching Adaptation via Intertestualily ur oughly mined. However, te power ofintertextual analysis is that Lim's dense chosen textual trends do not prec otter approaches my classroom Tffer avery ferent temporal analysis of Pe Sond Wes, albeit one equally coma to infestxtual methods The most obvious contribution T make concerns the new film, also calle The Stepford Wis (Frank Oz, 200, one not mentioned by Lisn (through no fault of hers, due tothe tepreheniblyslow Uline of nt. demic book publtion) What Tam concerned with is thal the nite 8 coi vein fre diferent st of intent possi ons Fo sociate not with 1970s feminisin but rather contemporary postfeminiam Furthermore, whereas Lin’s analysis is concerned wih te temporality of textual issues (lat Kind of feminist ane the Steplord husbands ant wives, and why2), my analysis engages the istry of feminism san Image-making sysiem, puting into play a iferent set of intertste pe marly, and unexpectedly, feminist avant-garde ciwme—to unclersend The Stepford Wiees. The sitinate goal of pedagogy i o asens how the history of emit image making inthe United Sets illuminates the 200 fis “postenins ekig of Is seco wave fami suse ater DEFINING POSTFEMINISM: THE STEPFORD WIVES In Watching Rape: Fn ant Televison Poston Culture, Sarah Projan- Shy defines pottiminiam in veifrent aye’ nenboelny eseae iy and chole (eteo)exposiive; and the Hea tat men ean be fen nists oo” rojas attempt to grasp the varied and contradictory ways in which postfeminism is weed in American culture is extremely help and ean be explored in the classroom by refering tothe audiovisual texts students and lecturers engage with though the framework of poster ‘ism. Exploring ths discursive terrain sone ey aspect of my pedagoay a5 I apply Projensky’s terms to the two versions of The Seyord ives Concepts su as postfeinism are crcl for student” intrfogetion af thle sen emergent nts further, interogating Sih cone i popular filme is an effective way of geting sucens to appreciate the value of the theoretical ‘ramework., ae ee “The first two of Peojnsky's categories, linear ant backlash postfem- nism, can be quickly dismissed as products ofa ase medin thet seeks to minimize the elect of fersinism on contemporary culture. In linea? posters, feminism is seen as having served is puspose. Ia backash Postfeminism, feminism constitutes a dangerous rei ofthe pat, most fomuton to the rhetoric ofthe American politcal right, for example, in the work ofthe ao personality, Rush Linbaugh. My pedagogy steedWalter Metz ss te cy gie ei— rng ca epee ae retin ale eg ite, Tg dace te ion sar aio oe Sea Pt aie iat the relation between Srenen crea ar rior me aes iia ate cues Soest anette ccc Seiad Retr eee ney Ana es cnc eee cae es cae cea ee ad Sion Wis, for example, foregrounds a methodological app eh adeaegy fee Percent rt oe cee ee ania an en wc Tra the bss fo a cls dain ofthe post dnt television show Sex nd the Cily in which Samantha (Kim Cat mre tnt Dae meme ar ten ae siog ene: — ty lr tn Recreate ma at Te I nlp orien ae te ae Sree ec ce at sir cae reenact a at Comte ene ion eagle ee emo i Seat ay wamen el et Seer sme ef oat ence ee a eae rere iret See eee rer ae See ee enero Sete mae ceitin raster ny es Ph ‘Teaching Adaptation via hntertestuality us 2008 film comedy in which it is not men, but a hysterical woman, Claire {Glenn Close), who wishes to return American society to its 1950s patri archal roots through animatronics."" However, her partners in crime are stil the town’s men, whose milquetoast passive-aggressive resentment toward their more accomplished wives allows the crazed woman's plan to become a reality. However, Frank Oz's remake departs radically from the 1970s source material. While both Levin's novel and the 1975 film version end with patriarchy triumphant, with Joanna turned into a robot, the 2004 film shows Joanna (Nicole Kidman) ending the Stepfordization of the town’s women." Whether Hollywood fantasy or not, this alterna. tive construction of American masculinity is desperately needed, and I welcome it in my classroom, POSTFEMINISM AND AVANT-GARDE CINEMA In “Post-Feminism and Shopping Fils,” Charlotte Brunsdon explores the female pleasures of the act of shopping in Prelly Woman (Garry Mar shall, 1990) and Working Girl (Mike Nichols, 1988), breaking with a 1970s ‘Marxist-feminist belief that any engagement with consumer culture on Women’s part would representa capitulation to patriarchy.” In this arg ‘ment, we find an example of Projansky’s category of (hetero}sex-positive postfeminism, the methodology through which I approach the Tie Step- Jord Wives, This form of postfeminism, which defends heterosexual wore cen’s desizes is driving much of the academic response to contemporary ‘media culture. The relationship between this contemporary postteminist work, which is applied to TV shows like Ally McBenl, and the 1970s second-wave feminism that celebrated avant-garde cinema is, Poorly understood at the most basic aesthetic level. Asis well-known, Laura Mulvey ends her 1975 essay, “Visual Pleasure and Narrative Cinema” with a call for an avant-garde feminist counter cinema: Tbelieve, ‘The first blow against the monolithic accumulation of traditional film con- ventions (already undertaken by radical film-makers) is to fre the look of the camera into its materiality in time and space and the look of the sud {ence into dialectics and passionate detachment. There is no loubt that this destroys the satistaction, pleasure and privilege ofthe “invisible guest” and highlights the way film has depended on voyeuristic acive/ passive mecha sss" 1 am interested in what is at stake for audiovisual culture when femi- rnism’s tools shift away from this modernist impulse, particularly in the direction of postfeminism’s engagement with pleasurable classicalWolter Metz pt tag ney ee ening ty ta any se eg can UEP pr scorn teks empt to tum theory into practice, Riddles of the Sphinx (codirected wit agar me laren Se ay ee a yam 2 OT i Cees ee Se En etn et een {Clocates us in medias re. It reads: “Perhaps Louise is too close to her Pe er ee natin ate eta Se oie ae oc ea orca Fee en a hota oceas pcty apo ferent aaneeay he yea oe Sree ae aetrg eeg cae ces ene AES sat ol Za ey te a ate ea aS Forage oir ars eee ents seat Time to get ready. Time to come in. Things to forge: Things to lose, Men tie Soy ine Reem, Kepng gg Keen king evi he a book: Rell Things te evi. Keeping inthe Background. Domenic Dishenitened. Burdened. Keeping elm. Keeping clean. iting ikea glove Relic Things to mend. Losing touch with realty. Dsheoth. Nerdsistic love, Kdlzed. Trangulzed, Losing count. Losing control. Shaking ike 0 lent Relense: Things to say, No ime to make amen. No time forte, Time to ory. No nef hod. Things to hold Things past. of this, we see Luise cooking, washing dishes, and other mots hoes commen done inthe icon: The cers sete 1 ‘stead continuing to pan even pt 260 depres, bung a bwul: Trapetition ofthe inne, 0 dentontrate ht tis work will never en ude sles on these saree and ashetichnique fo demonstrate fully the horrors of domestic passe and silanes preach tr ebout the complicity hl Hollywood fin’s pleaser ony sing Arson mara) have with i clo sytem. Yet Tenching Adaptation vin Intertextualty 15 kind of aggressive second-wave feminism might now appear somewhat 00 aggressive. In the winter 2005 issue of Cinema Journal, Brunssdon vrrites as part of an “In Focus” section on “PostFeminism and Contemporary Media Studies,” edited by Yvonne Tasker and Diane Negra. In her e=- say, “Feminism, Postfeminism, Martha, Martha, and Nigella,” Brunson performs a similar popular culture analysis of the 1970s and 1990s avant. garde, choosing instead as her sites the 1975 Martha Rosler video, The Semiotics ofthe Kitchen and Martha Stewaet’s popular domestic tips show, ‘Martha Stewart Living (1991) In Semioties ofthe Kitchen, a woman, Sesame Stret-style begins innocuously teaching the alphabet via a kitchen setting (°A is for apron” and "C is for cup”), only to work herself into a frenzy by the letter Z, brandishing kitchen utensils like Zorro uses his sword. In ‘Martha Stewart Living, by contrast, we learn how to make Christenas cook ies for 500 guests by only using eggs and flour that come from one’s own backyard.” The point of Brunsdon’s intervention is that we should not reduce feminism to an alienating battle between generations (in which the stuffy theoretical second-wavers are pitted against the pro-pleasure Postfeminists), or see it in binary terms as a conflict between apol cal contemporary postfeminists and the truly politcal generation of the 1970s. Rather she is searching for a different feminist petiodization that otfers more possbilities~—something that might be achieved by focusing ‘on the three Stepford Wives texts. All of them are about the subutban town ‘of Stepford, Connecticut, where a patriarchal men’s association is replne. ing housewives with robots so that they will beter serve, sexually and domestically, their husbands’ desires. Both the Levin novel andi the 1973 film engage with the logic of the women’s movement to suggest the Gothic horror of this science-fiction enterprise. For its part, the recent remake of the film discards the horror elements and treats the material comically, emphasizing the source novel's and film's critique of consumer capitalism: Popular film critic Roger Ebert desired this comic tum all along, In his review of the 1975 horror film, Ebert wrote: “[The movie] would have had a better chance as straight satirical comment, [can imagine similar ‘material being directed by, say, Woody Allen, and coming out pointed ‘and funny, instead, director Bryan Forbes gets all solemn and spooky ancl {8005 for obvious effects like bolts of lightning and forbidding Gothic man sions.” Then, in his review of the 2004 film, Ebert returns fo this frame work: “It's an enticing premise, an opening for wicked feminist satire, but the 1975 movie tilted toward horror instead of comedy. Now here's a version that tilts the other way, and I like ita litle better." Ina brief reception stucly I conducted on the recent film, I discovered that five of seven reviews built their responses around the concept of postfeminism, suggesting that the comic postfeminist treatment under- ‘ines the feminist seriousness of the source texts. For the L.A. Weekly, EllaWalter Mets rid Wives andl this ‘lox writes: “The time elapsed between the frst Step - remake by Miss Piggy himself, Frank Oz also the distance traveled «feminism to backlash,” thus invoking Feojansk’seategory of back 1 postfeminism.”” Writing forthe Socialist Worker, Helen Hunter claims ‘eg inept he niyo th mover an lr rer socesncesty testa prembetthosenesbang ade Sint thant en] lye en Sony donno ean een a i fear fom emir hat ie ine to a be i ing oes ate ots crposste snes Cstes Ang se gus eninas™ ce Hunter rvoks rojas’ oss poston franewook ta tne review June Pullen vols of ejay eae cataly ani choke peterinins when se dace liste “scone nay, word ln Casey Bown woul ove 9 vest “rng fedel by omen wha tae ig busy Proc el “etn Shows hat pt erage men atutony be comply cited by Wer wivels= nly nm ote ele for Syrosi, Tebougl revue to Bnei ponent rf We a Mae Sonne snes ef the fim is ou in th ining oft reese in the sme Is atta Mata Seyartconited an srr bist il and ‘Servet in enfant curbs of Coat Le er ren Sproat bee hep pbc onan if on ‘Reseptistming rests pret opertle conpa e Srl cimes of a grenter cleAt the end he ay ally ies more comfvable lasing the woran?™ the een veson of The Seid Wie i fil hat appr 0 Me cough the otemint em, owever, have wadesond Shc tts at uh nese sn psi ‘ister wy requester hw ined tel 0 and tn cron in ore det TD kaa in pn the ecto of hig ln, Bryon Fos erumenn tou healing ofthe 97 fim eed Te So rch pags prem tne You Fn {eval toga Mon he hed y ar angy fen urea {etn 10 ot ly lin te Une tt, gly eee SKowet what tinted dae dav lint wom esis For Eon tn hn gered Smeg fc lowing psa “ong an mule lng The sgl fim seme soe se of Teaching Adeptation via tuertexivalty m7 conflict between anti- and pro-eminist camps, which chose to see the filn’s depiction of robotic traditional femininity either as expressed ace ‘iringly ot horvifically. Bearing this in mind, it is not at all clear what the remake's postfeminist comedy might be parodying. 1 think Brunsdon is right in suggesting that we need to tum to another Periodization (rather than the feminism/postfeminism opposition) to ‘open up the history of feminism and its relationship to media representa ons. In this regard, I focus ia class not onthe 1975 fils relationship to ‘contemporary culture, but its relationship to early feminist image mak ing. The penultimate scene of Forbes's film, in which Joanna (Katharine Ross) discovers her robotic double, offers an intertextual opportunity to introduce to students the films of Maya Deren. ‘The 1975 film’s sequence incorporates familiar meloclramatic conven- tions, in which the woman who seeks the truth about hes husband enters the old dark house, only to discover the first wife hidden in the attic, In this case, however, the woman she discovers is not a first wife, but her own robotic double. In a remarkable image, Joanna confronts this dop- pelganger, who is without a soul, which we see because she has no mental {culties behind her dead eyes. tis here that my intertextual reading of The Stepford Wives thoroughly diverges from that offered by Bliss Cun Lim, Lim treats this moment formalistically: Joanna's denth atthe hands of her mechanical double is rendered via a shot/ reverse shot: to her horror, the heroine's gaze discloses the monster to be another self This may be read allegorical asa metaphor for a woman's be, jal marital demise,» figuration for her succumbing fo tendencies in herself which collude in her own oppression, in exchange for ceature comforts and male companionship. While Lim's formalist and thematic analyses of this moment are quite compelling, the image also demands to be read intertextually. For these. images, of the doubling ofthe female protagonist and of the rendering of the disaffected woman's eyes, replicate the birth of feminist avantgarde cinema in the United States, ‘This scene, in fact, as well as the thematic and ideological material it implies, offers a ghost echo of Maya Deren’s Mess ofthe Afternoon (1943), @ nightmare film about suburbia that is continuous with The Stepford Wiees.* In the film, Deren herself plays a protagonist who wanders in and around her house in Los Angeles. Toward the end of the short film, she enters her dining room to discover multiple versions of herself gathered around her dining table. A key appears on the table, and her two lop elgangers look at it inquisitively. The standing Deren character picks up the key. In close-up, we see that her palm is darkly painted. At thisWolter Metz 1 the musi changes intone siting rom anticipation to horror. The Seni transfrme ines kif, One of he Dern characte tthe hol er hand to he fae, na postr of ee We cut fo another tx now ying unconcous on cai inte ving room The Dere “life tum aft tack the reed domestic version of hese Keener now ening hosing ses with more obs lees causing er eyes to look inhuman sina the ees eyes of she's Stepford done i the 1975 ban ° eke wieiding Deren threatens the sleeper, placing the knife ater Tue sleeper awakens, pulling her hand fo her foc i self-defence, Jo discover hee Masbnna standing over he. The i thus becomes, The tej Wis, a nightmare about female subjectivity tapped he sabutten American household controlled by men, Furthermore, tesoftheAtemon ends wih a plsinrhal trump similar tothe pes i hw dingo the 197 Stored Ws he sted sets ne to discover the seated Deren having lt her tha ° Miskin of amyrionusttes the fat tat he pre “pores” {Ts feminism famneseed to non postmodern popular genre frm) rignal en version of The Seo Wie sever bit a challenging starch ele as enns evantaecinens Anne lstxampe the origina! film engages even more directly vith the women’s ener thas Mulvey and Wolle’s Ris, When Jonna ial ales “rome of Stepford to her consciousness ling group they subvert Sint purpose by ting about ening poe, The wosten pt fn to ay future Sessions by performing imprompt commercial sh ies favorite oven cleaner. ‘The fm produces a vicious critique of trcongumer eulture subtends paint, and one that i every bit a fig on the avantgarde techriques OF Rites. For is pat the remake ‘Obst similar Staque of consumer culte. This Une, Cate lends Stepford wives in" celebration of Christma with yarn Shee my stents hve understood the fact that the binary dstntion woe ein an pesteirsm no longer relly apes same of {js for te Seer Wee, hey can fot on come meringue None, How do the two versions of he Stepford Wes (Levins nov {the 197 Rn), which are both insribed with early 1970s culture, tte to Betty Fredan’s "problem with no name,” a8 outlined in 19638 "Fomine Mtge an hw docs his in fur ate to Maya Deen ‘ingen giving that problem a ase i 1943 by wing the images o “Retealut event garde end appying them o domestic in wartime *"Angeles? How f gendes activated in Deer's Meshes ofthe Afemaon sorted asa "wance lm by. Adame Site)" and how dows Devens rresenton oft tance relate fo dhe dead eyes of Jon, the Stepford Teaching Adaptation via Intertextuality 9 wife in the 1970s? In what way is Simone cle Beauvoir’s The Second Sex (published in Burope in the late 1940s, and from which ra Levin quotes in order to form his book’s epigram) the crucial mediating link between ‘Meshes ofthe Afternoon and the textual world of The Stepford Wives?” It is the project of an intertextuality-based adaptation studies class- room to provide space for stucents to pose and answer these questions, Adaptation then becomes not peripheral but central to the key political Questions in students’ lives, such as the value of postfeminist theory for understanding their gendered relations to the world around them. Pur- sued by an inteitextual and historical study of contemporary American ‘mass media, we may be able to leave behind Brunsdon’s postfeminist urtext. NOTES | would like to thank the organizers of the Gender Studies Now?! Colloquium at the John F. Kennedy Insitute at the Free University Berlin, and in particular, Di. Suzanna Robe, for inviting me to deliver a talk on postfeminism, which I did em 25 Apvil 2005, That occasion provided me withthe opportunity to first work out the ideas on which thie paper is based, 1. Dovid Bordwell, “Fil Interpretation Revisited,” Fil Criticism 17, nos. 2-3 (Winter/Spring, 1993) 93-119. 2. Leslie Fiedler is renoveed for his expansive, inclusive sense of criticism. For ‘example, he argues, “What I realy dream of is that somebody would blow every thing I've done out ofthe water ina beautiful way, which would clear the way for something better to come along,” see www brainyquote.com/quotes/quotes/l/ leslefied338577 html (accessed 4 May 2008). 3, Robert Stam, Litenture through Film: Realism, Magic, and the Ar of Adaptation (Oxford and Malden MA: Blackwell, 2005); Robert Stam and Alessandra Raengo (eds), Lite and Films: A Gute fo the Theory aid Practice of Film Adaptation (Oxford and Malden MA: Blackvell, 2005); Robert Stam, and Alessandra Reengo (eds), A Componion 10 Literature and Film (Oxford end Malden MA: Blackwell, 2004). 4. Bliss Cua Lim, “Serial Time: Bluebeard in Stepford,” In Lilemture a Fin, ed. Stam and Raengo, 163. 5. Lim, "Serial Time,” 176. 6 Lim, *S “Film and Television Narratives at the Intersection of Rape and Postfeminism,” in Watehing Rape: Flr ad Televcion in Posfeminist Culture, DP. 66-89 (New York: New York University Press, 2001) 8, Stephen Heath, "Men in Feminism: Men and Feminist Theory,” in Men in Feminist, ed. Alice Jardine and Paul Smith, pp. 4l=46 (New York. Routledge, 1994); Michael Awkward, “A Black Man's Place in Feminist Criticism,” in WheWalter Metz ‘Speak? Authority and Critiea entity, ed. Judith Roof and Robyn Wiegman, pp. '2 (Urbana: University of Blinois Press, 1985). 1. Adrienne Rich, “Compulsory Heterosexuality and Lesbian Existence ("in Blood, Brnd, and Poetry Selaced Prose, 1973-1988, pp. 68-78 (London: 0, 1986) 1. Noel Ignatiev and John Garvey, "Abolish the White Race,” in Rece Tmitor, ignatiey and Garvey, pp. 9-14 (New York: Routledge, 1996). "The Stepford Wives [2004], dir. Prank Oz, perf. Nicole Kidman, Matthew Bro- ‘ck, Bete Midler (DVD Bo002WAUDE: Paramount Home Video, 2008) ©The Stepford Wives (1975), dir. Bryan Forbes, perf. Katharine Ross, Paula ais, Nanette Neveman (DVD BOO026LBUS: Paramount Home Video, 2004) 1, Charlotte Brunsdon, “Post-Feminism and Shopping Films,” in Screen Tastes + Oper to Satellite Dishes, pp. 81-104 (Lonelon and New York: Routledge, 1997). ty Woman (1990), dr. Gerry Marshall, perf Richard Gere, Julia Roberts (OVD SBIUTHC: Buena Vista Home Entertainment, 2008), Working Gir (1988), dit ‘e Nichols, perf. Melanie Griffith, Harrison Ford, Sigourney Weaver (DVD TAOSNM: 20th Century-Fox, 201). Laura Mulvey, “Visual Plessure and Narrative Cinema,” in Feminist Fm nny: A Reoder, ed, Sue Thomham (New York: New York University Press, 9,68. 5 Rites of the Spine [1977] dis. Laura Mulvey and Peter Wollen, perf. Diana 2b, Clive Merrison (British Film Institute, 1977) 5 Charlotte Brunsdon, “Feminism, Postfeminism, Martha, Marta, and Nige- "Cinema Journal 44, no, 2 (Winter 2005): 110-16, 7. The Semiotics of the Kitchen (1975), dit. and perf. Martha Rosle, available ‘www youtube com/watch2v=32SA9RmaPZA (accessed 25 May 2008); Marte tart Living [1991], dir. Brook Altman, Een Fritz, perf. Martha Stewart (DVD OF7CDXU: Wamer Home Video, 2006). 8, Roger Bbert, "The Stepford Wives” (1975), Chiongo Sun-Times, 1 January 5, available at http: /rogerebert suntimes.com/apps/pbcs ll /artile?AID=/ 0101 /REVIEWS /501010364/1023 (accessed 4 May 2009); "The Sepford Wives” 5A) Chicago Sirt-Times, 11 june 2008, available at hit: / /rogerebertsuntimes ‘n/apps/ pbes.dll/ article? AID=/20040611 /REVIEWS /406110306/1023.(ac- sed 4 May 2009). 9. Elia Taylor, "The Stepford Wows,” L.A. Weekly, 11-17 June 2008, available at -w.divestdio.org/new’s/LA%20Weekly%20Calendar_interchange2.hn (c= sed 4 May 2008). 0. Helen Hunter, “1950s Nightmare,” Tle Socialist Worker $37 (12 August 4,9. 1. June Pulliam, “From Helen Gurley Brown to Helen Andelin: The Post- ninist World of Frank Oz's The Stepford Wives,” available at www.isw.edu/ rofile/stepfordi3.ntm (accessed 24 May 2005). 2 Dave Douglas, "The Stepford Wives: Realty is Stepford,” (27 September “), Synopuque 4, available at www synoptique.ca/core/en/articles/steptord / ‘sessed 24 May 2005) 3. The Slepord Wives, DVD Special Features (Paramount Home Video, 2008). 4. Lim, “Serial Time,” 180. Teaching Adeplaton vio Intertextualty 25, Meshes of the Afternoo [1943], dirs and perf. Mi sid (OUD Dibeegenes LO) dr and pet. Maya Deron, Alecnder Ham wi 7 istic Fire Video, Maya Deven: Experimental Films, 26, P, Adams Sine, Visio Fn: The Ameren A a , he Aner An Gai, 148 ed. (Oxford: Oxford University Press, 2002), 3-26, 121-54. 82000 3 27. ra Levin, The Sepford Wives (New York: Perennial, 2002), xi, 1