zenith during World War II. The film industry of that time had an economic interest in producing such films as women were believed to comprise a majority of movie-goers. In line with this perception, many woman's films were prestigious productions which attracted some of the best stars and directors. Some film scholars suggest that the genre as a whole was well-regarded within the film industry, while others argue that the genre and term "woman's film" had derogatory connotations and was used by critics to dismiss certain films. Production of women's films dropped off in the 1950s as melodrama became more male-centered and as soap operas began to appear on television. Although Hollywood continued to make films marked by some of the features and concerns of the traditional woman's film in the second half of the 20th century, the term itself disappeared in the 1960s. The genre was revived in the early 1970s. Attempts to create modern versions of the classic woman's film, updated to take account of new social norms, include Martin Scorsese's Alice Doesn't Live Here Anymore (1974), An Unmarried Woman (1978) by Paul Mazursky, Garry Marshall's Beaches (1988), and Fried Green Tomatoes (1991) by Jon Avnet. Similarly, the 2002 films The Hours and Far from Heaven took their cues from the classic woman's film. Elements of the woman's film have reemerged in the modern horror film genre. Films such as Brian De Palma's Carrie (1976) and Ridley Scott's Alien (1979) subvert traditional representations of femininity and refuse to follow the traditional marriage plot. The female protagonists in these movies are driven by something other than romantic love. Within British cinema, David Leland returned to the formula of the 1980s woman's film in The Land Girls (1998). The film tells the story of three young women during World War II and offers its heroines the opportunity to escape their old lives. Bend It Like Beckham (2002) emphasizes the key generic theme of female friendship and casts the heroine in a conflict between the restrictions of her traditional Sikh upbringing and her aspirations to become a football player. Lynne Ramsay's Morvern Callar is based on the woman's film tradition; a young woman escapes to Spain and pretends to be the author of her boyfriend's novel. While Morvern's journeys and transformations allow for liberation, she ends up where she started. Response Jeanine Basinger notes that woman's films were often criticized for