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Films and shows about incarcerated women stir conflicting feelings in audiences, producing empathy toward the inmates and troubled feelings about the crimes for which they have been convicted. Surveying the women-in-prison genre from 1933 to the present, Women, Film, and the Law explores how television and film shapes perceptions of incarcerated women. Suzanne Bouclin argues that feature films, on-demand streaming, music videos, and television series such as Orange is the New Black reveal the legal, economic, and political structures that criminalize women differently from men, especially women who have already been marginalized.

Manuscripts of published and unpublished works. Archival material of the Women's Theatre Group and Lip magazine. Includes theatre programs, reviews, correspondence, notebooks, research material, photographs, artworks, and sound cassettes.

Une oeuvre de fiction, stylistiquement très typée et qui dès les premières pages s'impose au lecteur par son charme désinvolte, son originalité naturelle et son brio. Sujet : un hymne à la modernité, autant celle de l'héroïne Flore - une femme libre - que celle du texte bondissant d'une ellipse à l'autre. "Flore Cocon" est un beau récit féministe, racé et un peu déroutant, qui n'a pas peur de jouer la carte du style.

Charlotte--a gifted but broken jazz singer--has found security and support under the roof of an overbearing French patroness of the arts, only to become trapped by her own dependence. There are no bars on the windows and no locks on the doors, but Charlotte is very much a prisoner in an opulent but unsympathetic world in which her self-worth is contingent on her voice. When the irresponsible and headstrong Theo re-enters her life after thirteen years, she is compelled, finally, to choose between complacency and autonomy.