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Dangerous Curves: Action Heroines, Gender, Fetishism, and Popular Culture Hardcover – January 7, 2011

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Editorial Reviews


"Brown offers a detailed analysis of the action heroine, how she is viewed, portrayed, and used as a commodity with as much detail and insight as Carol Clover has brought to the Final Girl and the role of women in horror films."

--Karra Shimabukuro, Studies in Popular Culture

"Masterfully sets out the empirical complexities and wide-ranging theoretical debates that arise from the study of action heroines in popular culture, and as such is sure to be a rewarding reference for any scholars engaged in debating the representation of women and gender in popular culture."

--Mehita Iqani, Feminist Media Studies

"Brown writes in a clear style that is easy to understand and enjoyable to read, making his work suitable for any level of film enthusiast, student, or scholar. His arguments are well supported by both references to previous scholarship and his own analyses of a plethora of textual examples. Action heroines provide a fruitful area of study, and Dangerous Curves fills an unfortunate lack of scholarship in this area."

--Chelsea McCracken, The Velvet Light Trap

From the Inside Flap

A consideration of the many manifestations of the action heroine in film, television, contemporary popular literature, comic books, cartoons, and video games


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Product Details

  • Hardcover: 288 pages
  • Publisher: University Press of Mississippi (January 7, 2011)
  • Language: English
  • ISBN-10: 160473714X
  • ISBN-13: 978-1604737141
  • Product Dimensions: 6 x 0.8 x 9 inches
  • Shipping Weight: 1.2 pounds (View shipping rates and policies)
  • Average Customer Review: 2.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Best Sellers Rank: #3,001,167 in Books (See Top 100 in Books)

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Most Helpful Customer Reviews

Format: Paperback
I was excited for this book because I cannot say anything bad about Brown’s Black Superheroes, Milestone Comics, and their Fans. It is one of my favorite books studying pop culture. Then Dangerous Curves was not necessarily a badly written book, but it is difficult to agree with the arguments made. His grip of feminist studies is questionable at best. Instead, these action heroines are placed in a male-centric analysis that does not seem to do them justice. Sometimes, Brown’s analysis is appropriate given that action media is a male-centric industry, from creators to target audience.
Brown casts a wide net of subjects in this book, including films, advertising, and television shows. His familiarity with these many sources is impressive. Readers do not have to worry about familiarity because any person interested in the topic would be familiar with at least one of the popular titles examined. Brown approaches each title with (outdated) psychoanalysis around the female action heroine’s performance of gender and her sexuality. It would be much better if written by someone known for LGBT, gender, and feminist studies.
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