Weinraub, Bernard. “For a Less Restrained Era, a Restored 'Streetcar'; The steam around Brando,    Leigh and Hunter Gets Even Steamier.” New York Times (16 Sept. 1993): C12. University of Pennsylvania Library, Philadelphia. 7 April 2008. <http://hdl.library.upenn.edu/1017/8765>.

This newspaper article, written forty years after Streetcar was released, announces a re-release of the film that includes dialogue, extra shots, and additional music from the original score that was initially cut due to “inappropriate” sexual content. Beginning with an overview of the film that mentions its four Oscars and twelve nominations, Weinraub recounts the stringent Motion Pictures Production Code and Catholic Legion of Decency in 1929 that attempted to ban Streetcar from theaters altogether. According to the president of Warner Brothers, the film was restored in order to enliven the sexual undertones that Tennessee Williams always intended to display. Stella and Stanley’s primal attraction, the seemingly innocent Blanche’s promiscuous history, the sexual tension between Blanch and Stanley, and Blanche and Stanley’s violent rape scene have all been intensified in Streetcar’s latest version.
As Streetcar was overwhelmingly risqué for 1950s film, Weinraub also makes a point of discussing Williams’ and director Elia Kazan’s relationship with Hollywood officials during the initial production of the film. According to Warner Brothers documents that had just been released to the public, Kazan and Williams were on the brink of disassociating themselves with the production of Streetcar entirely due to the many “moral” objections they received, particularly in regard to the rape scene. Defending his work, Williams claimed that his rape scene was anything but immoral; in fact, he stated it was “a pivotal, integral truth in the play, without which the play loses its meaning, which is the ravishment of the tender, the sensitive, the delicate, by the savage and brutal forces in modern society.” Thus, this situation not only exhibits Williams’ commitment to truth in a world filled with sins such as alcoholism, violence, and suicide (all of which is explores in his film), but also reveals Kazan’s realist priorities as a director. Furthermore, this clichéd conflict between the subordinate artist and superior capitalist sheds light on just how dramatically film has changed over the course of fifty years.
 

Vlasopolos, Anca. “Victimization in ‘A Streetcar Named Desire’.” Theatre Journal, 38.3 (Oct.    1986):    322-338. Johns Hopkins Press. University of Pennsylvania Library, Philadelphia. 7 April 2008. <http://hdl.library.upenn.edu/1017/6965/2>.

This article is a fascinating look at Williams’ play from a feminist perspective. Anca Vlasopolos, an English professor, traces Blanche’s character throughout the novel and reveals the multiple facets of its inherently sexist nature. Though Blanche may be perceived as the heroine of Williams’ story, Vlasopolos argues that Blanche represents the female as the cliched “perfect victim,” and it is this fact that makes Williams’ work a “problem,” or regressive, piece of writing. To readers, Blanche appears to be the epitome of a “Southern belle”—her language is prim and flowery, her outfits are glamorous, her face is full of makeup, her education is extensive—yet she is also the prey of an undeniable patriarchy that persists in an era of “progress.” Vlasopolos claims that the allusions of Williams’ writing, which are also evident in Kazan’s direction of the Streetcar film, reveal this discrimination.
She believes that Blanche is disadvantaged in every way: though beautiful, she is, more importantly, homeless, unwanted, alone, physically weak, and incapable of upholding her responsibilities. Even when she seeks to control the littler things, such as lighting, decor, and costume, she fails. Blanche only appears to be an authority figure when arguing over the ownership of her family estate, Belle Reve, yet even in this sense she proves incompetent, as she is the one who mismanaged the land. Thus, while Blance’s descent into mental illness may be viewed as a happy ending, as this break from reality ultimately frees her from the chains of the Kowalski household, Vlasopolos believes that she is merely a caricature of a gender-determined exclusion from society. Aside from obvious chauvinism, Vlasopolos manages to reveal sexist subtleties such as Stanley and Blanche’s uncanny similarities and the representation of Blanche as an allegory for characters such as the Grim Reaper, the goddess Daphne, and other legends. In this way, Vlasopolos’ analysis of Streetcar reaches depths that no reader can discern the first time they read Williams’ play. The beauty of Williams’ work lies in the layers of his prose, and it is these intricacies that Kazan emulates in his 1951 film. Her criticisms may be controversial, but it is these critiques that made Streetcar one of the most contentious works of the mid-twentieth century.
 

Leibman, Nina C. “Sexual Misdemeanor/Psychoanalytic Felony.” Cinema Journal, 26.2 (Winter,    1987):    27-38. University of Texas Press. University of Pennsylvania Library, Philadephia. 7 April 2008. <http://hdl.library.upenn.edu/1017/6965/2>.

In this article, Leibman analyzes the deterioration of Blanche’s mental health, and relates it to both Freudian theory and inherent sexism in Hollywood. A specialist of psychoanalysis in film theory, Leibman comments on the rising predominance of women in Freudian-oriented films after the 1950s. To her, sex and sexuality appear to be the essential factors for a heroine’s mental illness, and a protagonist falling victim to her own sexuality is no exception in Streetcar. Though the actual cause of Blanche’s developing insanity is unknown to audiences, Leibman believes that her promiscuity is what ultimately leads to her downfall. Taking psychiatry into account, Leibman believes that Hollywood maintains an inherent patriarchal status quo by ignoring Freud’s theories of repression and neurosis. Freud states that it is important to release our repressed sexual thoughts in order to avoid any form of psychosis—and because Blanche does not succeed in liberating these notions, she is essentially “punished” for her restraint through expulsion from her hometown and family, along with paranoia and other forms of mental illness.
Even though Blanche continually professes her innocence, all her of claims are nullified by her behavior. However, because viewers hear of these improprieties indirectly, it is harder for her to earn an audience’s sympathy. In comparison, Leibman claims that Stella, who may initially seem to embody an almost longing for her husband, is also victim to this psychological sexism. While her attraction to Stanley is blatant, the fact that she loves him rather than lusts for him reemphasizes the fact that desire is what “destroys” women. Thus, Leibman argues that because Stella is passive she is feminine, while Blanche’s overt sexuality keeps her from traditionally female ideals, such as a calm, selfless, nurturing disposition. Though Leibman’s claims may not be grounded in fact, she provides a provocative counterargument for those who celebrate Streetcar’s progressive representations of modern society.
 

Leibman, Nina C. “Sexual Misdemeanor/Psychoanalytic Felony.” Cinema Journal, 26.2 (Winter,    1987):    27-38. University of Texas Press. University of Pennsylvania Library, Philadephia. 7 April 2008. <http://hdl.library.upenn.edu/1017/6965/2>.

 In this article, Leibman analyzes the deterioration of Blanche’s mental health, and relates it to both Freudian theory and inherent sexism in Hollywood. A specialist of psychoanalysis in film theory, Leibman comments on the rising predominance of women in Freudian-oriented films after the 1950s. To her, sex and sexuality appear to be the essential factors for a heroine’s mental illness, and a protagonist falling victim to her own sexuality is no exception in Streetcar. Though the actual cause of Blanche’s developing insanity is unknown to audiences, Leibman believes that her promiscuity is what ultimately leads to her downfall. Taking psychiatry into account, Leibman believes that Hollywood maintains an inherent patriarchal status quo by ignoring Freud’s theories of repression and neurosis. Freud states that it is important to release our repressed sexual thoughts in order to avoid any form of psychosis—and because Blanche does not succeed in liberating these notions, she is essentially “punished” for her restraint through expulsion from her hometown and family, along with paranoia and other forms of mental illness.
Even though Blanche continually professes her innocence, all her of claims are nullified by her behavior. However, because viewers hear of these improprieties indirectly, it is harder for her to earn an audience’s sympathy. In comparison, Leibman claims that Stella, who may initially seem to embody an almost longing for her husband, is also victim to this psychological sexism. While her attraction to Stanley is blatant, the fact that she loves him rather than lusts for him reemphasizes the fact that desire is what “destroys” women. Thus, Leibman argues that because Stella is passive she is feminine, while Blanche’s overt sexuality keeps her from traditionally female ideals, such as a calm, selfless, nurturing disposition. Though Leibman’s claims may not be grounded in fact, she provides a provocative counterargument for those who celebrate Streetcar’s progressive representations of modern society.
 

Leibman, Nina C. “Sexual Misdemeanor/Psychoanalytic Felony.” Cinema Journal, 26.2 (Winter,    1987):    27-38. University of Texas Press. University of Pennsylvania Library, Philadephia. 7 April 2008. <http://hdl.library.upenn.edu/1017/6965/2>.

 In this article, Leibman analyzes the deterioration of Blanche’s mental health, and relates it to both Freudian theory and inherent sexism in Hollywood. A specialist of psychoanalysis in film theory, Leibman comments on the rising predominance of women in Freudian-oriented films after the 1950s. To her, sex and sexuality appear to be the essential factors for a heroine’s mental illness, and a protagonist falling victim to her own sexuality is no exception in Streetcar. Though the actual cause of Blanche’s developing insanity is unknown to audiences, Leibman believes that her promiscuity is what ultimately leads to her downfall. Taking psychiatry into account, Leibman believes that Hollywood maintains an inherent patriarchal status quo by ignoring Freud’s theories of repression and neurosis. Freud states that it is important to release our repressed sexual thoughts in order to avoid any form of psychosis—and because Blanche does not succeed in liberating these notions, she is essentially “punished” for her restraint through expulsion from her hometown and family, along with paranoia and other forms of mental illness.
Even though Blanche continually professes her innocence, all her of claims are nullified by her behavior. However, because viewers hear of these improprieties indirectly, it is harder for her to earn an audience’s sympathy. In comparison, Leibman claims that Stella, who may initially seem to embody an almost longing for her husband, is also victim to this psychological sexism. While her attraction to Stanley is blatant, the fact that she loves him rather than lusts for him reemphasizes the fact that desire is what “destroys” women. Thus, Leibman argues that because Stella is passive she is feminine, while Blanche’s overt sexuality keeps her from traditionally female ideals, such as a calm, selfless, nurturing disposition. Though Leibman’s claims may not be grounded in fact, she provides a provocative counterargument for those who celebrate Streetcar’s progressive representations of modern society.