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The early 1990s discussion of ‘blockbuster’ women’s films – circulating via the trade press, fan magazines and popular film reviews – proposed the likelihood of a long-term shift towards female-orientated production cycles which would gather momentum throughout the decade. As the comments from these sources in the previous chapter indicate, much of this discussion relied on a broad definition of women’s films, loosely drawn together through a common interest in romance, relationships and the primacy of a female figure. As I have already suggested, re-assessing production trends linked to critical responses and assumptions about the gendered audience for certain kinds of texts, demonstrates the emergence of a number of distinct, generically based subcycles which were perceived as the ‘property’ of the female audience in the early 1990s. These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.
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