Abstract

Film studies has largely avoided the biocultural turn that has swept through other areas of the humanities. This resistance may be understood in terms of the field’s recent distaste for grand theory—and in terms of the loose, social-constructionist thinking that is one residue of that distaste. Fortunately, a biocultural approach to cinema can offer film studies a necessary and defensible set of assumptions. It can also offer interpretive tools and potential ways of conceptualizing perennial concerns like authorship and genre. This essay demonstrates the last two points through an evolutionary reading of Howard Hawks’s musical Gentlemen Prefer Blondes (1953) and through proposals for new ways of approaching auteurism and pornography.