Lawerencia Bembeck is charged and convicted of murder. But she claims she is innocent -- framed.

As real women increasingly entered the professions from the 1970s onward, their cinematic counterparts followed suit. Women lawyers, in particular, were the protagonists of many Hollywood films of the Reagan-Bush era, serving as a kind of shorthand reference any time a script needed a powerful career woman. Yet a close viewing of these films reveals contradictions and anxieties that belie the films' apparent acceptance of women's professional roles. In film after film, the woman lawyer herself effectively ends up "on trial" for violating norms of femininity and patriarchal authority. In this book, Cynthia Lucia offers a sustained analysis of women lawyer films as a genre and as a site where other genres including film noir, maternal melodrama, thrillers, action romance, and romantic comedy intersect. She traces Hollywood representations of female lawyers through close readings of films from the 1949 Adam's Rib through films of the 1980s and 1990s, including Jagged Edge, The Accused, and The Client, among others. She also examines several key male lawyer films and two independent films, Lizzie Borden's Love Crimes and Susan Streitfeld's Female Perversions. Lucia convincingly demonstrates that making movies about women lawyers and the law provides unusually fertile ground for exploring patriarchy in crisis. This, she argues, is the cultural stimulus that prompts filmmakers to create stories about powerful women that simultaneously question and undermine women's right to wield authority.

In the landmark Lavallee decision of 1990, the Supreme Court of Canada ruled that evidence of "battered woman syndrome" was admissible in establishing self-defence for women accused of killing their abusive partners. This book looks at the trials of eleven battered women, ten of whom killed their partners, in the fifteen years since Lavallee. Drawing extensively on trial transcripts and a rich expanse of interdisciplinary sources, the author looks at the evidence produced at trial and at how self-defence was argued. By illuminating these cases, this book uncovers the practical and legal dilemmas faced by battered women on trial for murder.

This engaging ethnography examines the gendered nature of today's large corporate law firms. Although increasing numbers of women have become lawyers in the past decade, Jennifer Pierce discovers that the double standards and sexist attitudes of legal bureaucracies are a continuing problem for women lawyers and paralegals. Working as a paralegal, Pierce did ethnographic research in two law offices, and her depiction of the legal world is quite unlike the glamorized version seen on television. Pierce tellingly portrays the dilemma that female attorneys face: a woman using tough, aggressive tactics—the ideal combative litigator—is often regarded as brash or even obnoxious by her male colleagues. Yet any lack of toughness would mark her as ineffective. Women paralegals also face a double bind in corporate law firms. While lawyers depend on paralegals for important work, they also expect these women—for most paralegals are women—to nurture them and affirm their superior status in the office hierarchy. Paralegals who mother their bosses experience increasing personal exploitation, while those who do not face criticism and professional sanction. Male paralegals, Pierce finds, do not encounter the same difficulties that female paralegals do. Pierce argues that this gendered division of labor benefits men politically, economically, and personally. However, she finds that women lawyers and paralegals develop creative strategies for resisting and disrupting the male-dominated status quo. Her lively narrative and well-argued analysis will be welcomed by anyone interested in today's gender politics and business culture.

In Cara Robertson’s “enthralling new book,” The Trial of Lizzie Borden, “the reader is to serve as judge and jury” (The New York Times). Based on twenty years of research and recently unearthed evidence, this true crime and legal history is the “definitive account to date of one of America’s most notorious and enduring murder mysteries” (Publishers Weekly, starred review). When Andrew and Abby Borden were brutally hacked to death in Fall River, Massachusetts, in August 1892, the arrest of the couple’s younger daughter Lizzie turned the case into international news and her murder trial into a spectacle unparalleled in American history. Reporters flocked to the scene. Well-known columnists took up conspicuous seats in the courtroom. The defendant was relentlessly scrutinized for signs of guilt or innocence. Everyone—rich and poor, suffragists and social conservatives, legal scholars and laypeople—had an opinion about Lizzie Borden’s guilt or innocence. Was she a cold-blooded murderess or an unjustly persecuted lady? Did she or didn’t she? An essential piece of American mythology, the popular fascination with the Borden murders has endured for more than one hundred years. Told and retold in every conceivable genre, the murders have secured a place in the American pantheon of mythic horror. In contrast, “Cara Robertson presents the story with the thoroughness one expects from an attorney…Fans of crime novels will love it” (Kirkus Reviews). Based on transcripts of the Borden legal proceedings, contemporary newspaper accounts, unpublished local accounts, and recently unearthed letters from Lizzie herself, The Trial of Lizzie Borden is “a fast-paced, page-turning read” (Booklist, starred review) that offers a window into America in the Gilded Age. This “remarkable” (Bustle) book “should be at the top of your reading list” (PopSugar).