Popcorn Venus

Considered one of the first books written by a woman exploring film from a feminist perspective, Rosen's study covers women's roles in movies from the 1900s into the 1960s and early 1970s in the form of reflection theory.

[1] Popcorn Venus explores the changing characterization of women in film throughout the decades, with Rosen emphasizing an unrealistic and stereotypical portrayal depending on the social and political climate of the time.

Rosen writes about actresses such as Mary Pickford, Lillian Gish, and Mae Marsh who are all emblematic of the Eternal Child character who emerged from Victorian morals, the women playing youthful roles well into their 30s.

Responsible for their fame was David Wark Griffith, a director at the time who, as Rosen explains, was known for his arsenal of young female stars and his upholding of puritan Victorian morals.

While hemlines became higher, Rosen writes that women still were not allowed to act on their sexual desires openly without consequence, and marriage was still the end goal.

Rosen explains that to avoid breach of censorship rules at the time, sexual Vamp characters often suffered or died in their films as a warning against promiscuous behavior.

Then, Rosen discusses Ernst Lubitsch, who wrote a lot of comedies where women could be more sexual, however, she notes that it was played for laughs and so unrealistic that it was unrelatable.

Rosen finds this ironic because during the depression women were unemployed and even getting fired upon marriage, the Mysterious Woman existed as a form of escapism.

Rosen notes that Greta Garbo was one of the first to portray the Mysterious Woman trope, working alongside the men onscreen and challenging or seducing them.

Another female character trope introduced by Rosen in part three is the Blonde Bombshell, exemplified by actresses such as Mae West and Jean Harlow.

Rosen explains this time period by discussing how women took over men's jobs during the war and films became more female-centric as there were fewer male actors.

A new female character type described by Rosen is the sexualized Pinup woman, played by actresses such as Rita Hayworth and Jane Russel.

Rosen emphasizes that in movies, middle-aged single women were categorized as spinsters who were depicted as pathetic and pitiful cautionary tales.

Rosen explains the backdrop of the flower child hippy movement, where youth culture preferred avoiding political life and experimenting with drugs.

[12] Popcorn Venus is known for its historical exploration of women's changing stereotypical roles in American films, determined by the assumed patriarchal structure of Hollywood.

[1] Feminist criticisms of Popcorn Venus complain that Rosen does not offer enough basis in social theory to support her claims and that she does not touch enough on the roles of Black women in films.

Marilyn Mitchell concludes in her 1974 review that Popcorn Venus "entertains" but "only occasionally enlightens",[13] commending Rosen's style of writing but criticizing her lack of support for claims.

[14] E. Ann Kaplan writes positively of Rosen's wit and in-depth descriptions in Popcorn Venus but also critiques that "her insights remain underdeveloped".