Table of Contents

pp 5-6

Introduction: ‘I’m interested in the relationships that women have with other women’

pp 7-14

Part 1 - Temptation, Destruction and Collapse

pp 15-16

1 - ‘The Woman Destroyed’ in Blue Jasmine

pp 17-32

2 - ‘New York Was His Town, and It Always Would Be…’: Narrative Storytelling and the Vexing Role of Women in Manhattan

pp 33-52

Part 2 - Art and the Family

pp 53-54

3 - Hannah and Her Father: Decoding the Eternal Feminine

pp 55-78

4 - Vicky Cristina Barcelona and the Politics of Toxic Female Friendship

pp 79-98

5 - ‘A Particularly Cruel Business for a Woman’: Nineteenth-Century Opera as Feminist Voice in Match Point

pp 99-116

Part 3 - Intertextuality

pp 117-118

6 - I Gotta Be Me: The Remade Woman and Replaying the Woman’s Part in Woody Allen’s Movies

pp 119-138

7 - Negotiating ‘Dis-ease’: Jewish Women in the Work of Woody Allen

pp 139-164

Part 4 - Sound and Body

pp 165-166

8 - The Silent (Film) Woman: Sweet and Lowdown’s Mute Muse

pp 167-184

9 - ‘Some Nights It’s the Only Game in Town’: The Prostitute in Woody Allen’s Oeuvre

pp 185-202

Part 5 - The Muse and Inspiration

pp 203-204

10 - Too Much, Too Young?: Woody Allen’s Life, Work and Women in the #MeToo Era

pp 205-224

11 - ‘She’s a Genius, and I Don’t Use That Word Casually’:Elaine May’s Collaborative Relationship with Woody Allen

pp 225-242

12 - Keaton and Allen: Collaboration and the Screwball Couple in Annie Hall and Manhattan Murder Mystery

pp 243-262

Index

pp 263-265