Kooperativer Bibliotheksverbund

UID:

Format: XXX, 322 S. : , Ill.

ISBN: 978-0-8223-5428-4

Language: English

Subjects: General works , Sociology

Keywords: Film ; LGBT ; Homosexualität ; Aufsatzsammlung

URL: Inhaltsverzeichnis

UID:

Format: 1 online resource (352 p.) : , 23 Illustrations

ISBN: 9780822399698

Series Statement: e-Duke books scholarly collection

Content: B. Ruby Rich designated a brand new genre, the New Queer Cinema (NQC), in her groundbreaking article in the Village Voice in 1992. This movement in film and video was intensely political and aesthetically innovative, made possible by the debut of the camcorder, and driven initially by outrage over the unchecked spread of AIDS. The genre has grown to include an entire generation of queer artists, filmmakers, and activists.As a critic, curator, journalist, and scholar, Rich has been inextricably linked to the New Queer Cinema from its inception. This volume presents her new thoughts on the topic, as well as bringing together the best of her writing on the NQC. She follows this cinematic movement from its origins in the mid-1980s all the way to the present in essays and articles directed at a range of audiences, from readers of academic journals to popular glossies and weekly newspapers. She presents her insights into such NQC pioneers as Derek Jarman and Isaac Julien and investigates such celebrated films as Go Fish, Brokeback Mountain, Itty Bitty Titty Committee, and Milk. In addition to exploring less-known films and international cinemas (including Latin American and French films and videos), she documents the more recent incarnations of the NQC on screen, on the web, and in art galleries.

Note: Frontmatter -- , CONTENTS -- , Acknowledgments -- , Introduction -- , 1. Before the Beginning: Lineages and Preconceptions -- , 2. The New Queer Cinema: Director’s Cut -- , 3. Collision, Catastrophe, Celebration: The Relationship between Gay and Lesbian Film Festivals and Their Publics -- , 4. What’s a Good Gay Film? -- , 5. The King of Queer: Derek Jarman -- , 6. True Stories of Forbidden Love -- , 7. Goings and Comings, the Go Fish Way -- , 8. Historical Fictions, Modern Desires: The Watermelon Woman -- , 9. Channeling Domestic Violence: In the Den with Todd Haynes and Christine Vachon -- , 10. The I.K.U. Experience: The Shu-Lea Cheang Phenomenon -- , 11. Jonathan Caouette: What in Tarnation? -- , 12. Apichatpong Weerasethakul’s Tropical Maladies -- , 13. Beyond Doom: Gregg Araki’s Mysterious Film -- , 14. A Walk in the Clouds: Julián Hernández -- , 15. Lethal Lesbians: The Cinematic Inscription of Murderous Desire -- , 16. Queering the Biopic Documentary -- , 17. A Queer and Present Danger: The Death of New Queer Cinema? -- , 18. Preface to a History -- , 19. Refashioning Mexican Screen Sexuality: Ripstein, Hermosillo, Leduc -- , 20. Gay and Lesbian Traces -- , 21. Mexico in the Forties: Reclaiming a Gender Pioneer -- , 22. Revolution, Sexuality, and the Paradox of Queer Film in Cuba -- , 23. Queering the Social Landscape -- , 24. Ang Lee’s Lonesome Cowboys -- , 25. Itty Bitty Titty Committee: Free Radicals and the Feminist Carnivalesque -- , 26. Queer Nouveau: From Morality Tales to Mortality Tales in Ozon, Téchiné, Collard -- , 27. Got Milk? Gus Van Sant’s Encounter with History -- , Conclusion -- , Filmography -- , Bibliography -- , Credits -- , 9780822399698-034 , In English.

Language: English

Keywords: Aufsatzsammlung ; Aufsatzsammlung

DOI: 10.1515/9780822399698

URL: https://doi.org/10.1515/9780822399698

URL: https://www.degruyter.com/isbn/9780822399698

URL: Volltext  (URL des Erstveröffentlichers)

URL: Volltext  (URL des Erstveröffentlichers)

URL: https://doi.org/10.1515/9780822399698

URL: https://www.degruyter.com/isbn/9780822399698

URL: Volltext  (URL des Erstveröffentlichers)

UID:

Format: 1 online resource (224 p.)

ISBN: 9781474463768

Content: Coined in the early 1990s to describe a burgeoning film movement, 'New Queer Cinema' has turned the attention of film theorists, students and audiences to the proliferation of intelligent, stylish and daring work by lesbian and gay filmmakers within independent cinema, and to the proliferation of 'queer' images and themes within the mainstream. But what constituted New Queer Cinema then and now? And was it political gains, cultural momentum or market forces that determined its evolution?New Queer Cinema is divided into sections on the definition, the filmmakers, the geography, and the spectator of New Queer Cinema. Chapters address the pivotal directors (e.g. Todd Haynes and Gregg Araki) and the salient films (e.g. Paris is Burning and Boys Don't Cry) but also non-mainstream and non-Anglo-American work (e.g. experimental film and third cinema). With a critical eye to its uneasy relationship to the mainstream, the volume explores the aesthetic, socio-cultural, political and, necessarily, commercial investments of New Queer Cinema. This book, the first full-length study of the subject, offers the definitive guide to New Queer Cinema combining indispensable discussions of its central issues with exciting new work by keywriters.FeaturesProvides a definitive introduction to New Queer Cinema (NQC)Clear structure with each section addressing a key topic in the study of NQCThemes covered include genre, gender and race, politics, media, and the relationship between NQC and the mainstream.

Note: Frontmatter -- , Contents -- , Acknowledgments -- , List of illustrations -- , Notes on the contributors -- , Part I New Queer cinema in context -- , 1. New queer cinema: an introduction -- , 2. New queer cinema -- , 3. Aids and new queer cinema -- , Part II New queer filmmaking -- , Overview -- , 4. The characteristics of new queer filmmaking: case study-Todd Haynes -- , 5. Camp and queer and the new queer director: case study-Gregg Araki -- , 6. Art cinema and murderous lesbians -- , 7. New queer cinema and experimental video -- , Part III Locating new queer cinema -- , Overview -- , 8. New queer cinema and lesbian films -- , 9. New queer cinema: Spectacle, race, utopia -- , 10. New black queer cinema -- , 11. Nationality and new queer cinema: Australian film -- , 12. New Queer cinema and third cinema -- , Part IV Watching new queer cinema -- , Overview -- , 13. Reception of a queer mainstream film -- , 14. The new queer spectator -- , Index , In English.

Language: English

Keywords: Electronic books.

DOI: 10.1515/9781474463768

URL: https://doi.org/10.1515/9781474463768

URL: https://www.degruyter.com/isbn/9781474463768

URL: https://doi.org/10.1515/9781474463768

URL: https://www.degruyter.com/isbn/9781474463768

URL: Click to View

UID:

Format: 1 online resource (320 p.)

ISBN: 9781474473224

Content: Brings together the key statements from the main debates in feminist film theory in Britain and the United States since 1970 Divided into six sections for ease of use: Taking up the Struggle; The Language of Theory; The Female Spectator; Textual Negotiations; Fantasy, Horror and the Body; Re-Thinking DifferencesAn introduction setting out the key debates in feminist film theoryIntroductions to each sectionThe book maps the impact of major theoretical developments - structuralist and semiotic theory; psychoanalysis; theories of ideology, language and discourse - on this growing field, in terms of both theoretical shifts and changes in methodologies. The relationship of feminist film theory to feminist media and cultural studies is outlined, as is the relationship between developments in feminist film theory and feminist film making. Includes readings from Laura Mulvey, Jacqueline Rose, Mary Ann Doane, Tania Modleski, Annette Kuhn, Jackie Stacey, Elizabeth Cowey, Linda Williams, bell hooks, Teresa de Lauretis. For the past twenty-five years, cinema has been a vital terrain on which feminist debates about culture, representation and identity have been fought. This anthology seeks to chart the history of those debates, bringing together the key statements in feminist film theory in Britain and the United States since 1970. The book maps the impact of major theoretical developments in this growing field - from structuralism and psychoanalysis to post-colonial theory, queer theory and postmodernism in the 1990s - interms of both theoretical shifts and changes in methodologies. Organised into six sections, the readings deal with a wide range of topics: oppressive images; woman" as fetishised object of desire; female spectatorship; film audiences; issues of fantasy and desire in popular film; and the cinematic pleasures of black women and lesbian women. The centrality of a feminist "politics of vision" unites all the readings in this book.Key Features"

Note: Frontmatter -- , CONTENTS -- , Introduction -- , Part I: Taking up the Struggle -- , Introduction -- , 1.‘The Image of Women in Film: Some Suggestions for Future Research’ -- , 2. ‘The Woman’s Film’ -- , 3. ‘Women’s Cinema as Counter-Cinema’ -- , 4. ‘The Crisis of Naming in Feminist Film Criticism’ -- , Further Reading -- , Part II: The Language of Theory -- , Introduction -- , 5. ‘Visual Pleasure and Narrative Cinema’ -- , 6. ‘Caught and Rebecca: The Inscription of Femininity as Absence’ -- , 7. ‘Oedipus Interruptus’ -- , 8. ‘Lost Objects and Mistaken Subjects’ -- , Further Reading -- , Part III: The Female Spectator -- , Introduction -- , 9. ‘Women and Film: A Discussion of Feminist Aesthetics’ -- , 10. ‘Afterthoughts on “Visual Pleasure and Narrative Cinema” inspired by King Vidor’s Duel in the Sun (1946)’ -- , 11. ‘Film and the Masquerade: Theorising the Female Spectator’ -- , 12. ‘Women’s Genres: Melodrama, Soap Opera and Theory’ -- , Further Reading -- , Part IV: Textual Negotiations -- , Introduction -- , 13. ‘Pleasurable Negotiations’ -- , 14. ‘Video Replay: Families, Films and Fantasy’ -- , 15. ‘Feminine Fascinations: Forms of Identification in Star-Audience Relations’ -- , 16. ‘Taboos and Totems: Cultural Meanings of The Silence of the Lambs' -- , Further Reading -- , Part V: Fantasy, Horror and the Body -- , Introduction -- , 17. ‘Her Body, Himself: Gender in the Slasher Film’ -- , 18. ‘Horror and the Monstrous-Feminine: An Imaginary Abjection’ -- , 19. ‘Film Bodies: Gender, Genre and Excess’ -- , Further Reading -- , Part VI: Re-thinking Differences -- , Introduction -- , 20. ‘White Privilege and Looking Relations: Race and Gender in Feminist Film Theory’ -- , 21. ‘The Oppositional Gaze: Black Female Spectators’ -- , 22. ‘Cinema and the Dark Continent: Race and Gender in Popular Film’ -- , 23. ‘Gender is Burning: Questions of Appropriation and Subversion’ -- , Further Reading -- , Copyright Acknowledgements -- , Index , In English.

Additional Edition: ISBN 9780748609598

Language: English

Subjects: General works

Keywords: Aufsatzsammlung ; Aufsatzsammlung ; Electronic books.

DOI: 10.1515/9781474473224

URL: https://doi.org/10.1515/9781474473224

URL: https://www.degruyter.com/isbn/9781474473224

URL: https://doi.org/10.1515/9781474473224

URL: https://www.degruyter.com/isbn/9781474473224

URL: Volltext  (URL des Erstveröffentlichers)

URL: Volltext  (URL des Erstveröffentlichers)

URL: Click to View

UID:

Format: 1 online resource : , 51 images

ISBN: 9780813599625

Content: We all have images that we find unwatchable, whether for ethical, political, or sensory and affective reasons. From news coverage of terror attacks to viral videos of police brutality, and from graphic horror films to transgressive artworks, many of the images in our media culture might strike us as unsuitable for viewing. Yet what does it mean to proclaim something “unwatchable”: disturbing, revolting, poor, tedious, or literally inaccessible? With over 50 original essays by leading scholars, artists, critics, and curators, this is the first book to trace the “unwatchable” across our contemporary media environment, in which viewers encounter difficult content on various screens and platforms. Appealing to a broad academic and general readership, the volume offers multidisciplinary approaches to the vast array of troubling images that circulate in global visual culture.

Note: Frontmatter -- , Contents -- , Introduction: Envisioning the Unwatchable / , Part I. Violence and Testimony -- , 1. Theorizing the Unwatchable -- , Unwatchable / , The Gaze from Within / , The Unwatchable and the Unwatchable / , Melting into Visibility / , Pro Forma / , 2. Spectacles of Destruction -- , Terminal Radiance / , Unwatched/Unmanned: Drone Strikes and the Aesthetics of the Unseen / , Breakaway / , The Watchability of the Unwatchable: Television Disaster Coverage / , 3. Bearing Witness -- , The Incommensurable / , Not Seeing Is Believing: The Unwatchable in Advocacy / , Even If She Had Been a Criminal: A Past Unwatched / , Deframing Evidence: A Transmission from Los ingrávidos / , Alan Kurdi’s Body on the Shore / , 4. Visual Regimes of Racial Violence -- , Held Helpless in the Breach: On American History X / , The Flash of History: On the Unwatchable in Get Out / , Nothing Is Unwatchable for All / , Empathy .Complicity / , 5. Spectacularization and Resistance -- , Entertainment Value / , Holocausts, Hallowe’en, and Headdresses / , Unwitnessable: Outrageous Ableist Impersonations and Unwitnessed Everyday Violence / , Part II. Histories and Genres -- , 6. The Tradition of Provocateurs -- , The Two Unwatchables / , Real Horrorshow / , Asymmetries of Desire: Salò, or the 120 Days of Sodom / , Unstomachable: Irréversible and the Extreme Cinema Tradition / , 7. Enduring the Avant-Garde -- , Unwatchability by Choice: Isou’s Venom and Eternity / , The Refusal of Spectacle: Debord’s Howls for Sade / , Warhol’s Empire: Unwatched and Unwatchable / , Warhol’s Empire / , Watching Paint Dry / , 8. Visceral Responses to Horror -- , “Peekaboo”: Thoughts on (Maybe Not) Seeing Two Horror Films / , Why I Cannot Watch / , Apotropes / , 9. Pornography and the Question of Pleasure -- , I Am Curious (Butterball) / , At the Threshold to the Void / , 10. Archives and the Disintegrating Image -- , Restoring Blood Money / , Turning Garbo Watchable: From Swedish Bread Bun to Hollywood Goddess / , Twilight of the Dead / , Part III. Spectators and Objects -- , 11. Passionate Aversions -- , “Sad!”: Why I Won’t Watch Antichrist / , Transforming Nihilism / , Oh, Inventiveness! Oh, Imaginativeness! Precious Cinema and Its Discontents: A Rant / , The Biopic Is an Affront to the Cinema / , 12. Tedious Whiteness -- , White Men Behaving Sadly / , “You Is Kind, You Is Smart, You Is Important”; or, Why I Can’t Watch The Help / , Two Tables and a Ladder: WCGW? / , 13. Reality Trumpism -- , TV Trumps / , The Once and Future Hillary: Why I Won’t Watch a TV Miniseries about the 2016 U.S. Presidential Election / , 14. Pedagogy and Campus Politics -- , Why We Can’t Take a Joke / , The Bridge and Unteachable Films / , Squirming in the Classroom: Fat Girl and the Ethical Value of Extreme Discomfort / , 15. The Triggered Spectator -- , What Is an “Unwatchable” Film? (With Reference to Amour and Still Alice) / , Watch at Your Own Peril / , Sects, Fries, and Videotape / , Off Watch / , Acknowledgments -- , Filmography -- , Bibliography -- , Notes on Contributors -- , Index , In English.

Language: English

Subjects: General works

Keywords: Aufsatzsammlung ; Aufsatzsammlung

DOI: 10.36019/9780813599625

URL: https://www.degruyter.com/isbn/9780813599625

URL: Volltext  (lizenzpflichtig)

URL: lizenzpflichtig

URL: Volltext

URL: Cover

URL: Cover

URL: http://purl.org/coar/access_right/c_16ec

URL: Volltext  (URL des Erstveröffentlichers)

UID:

Format: 1 online resource

ISBN: 9780292789128

Content: Filmmaker Lourdes Portillo sees her mission as "channeling the hopes and dreams of a people." Clearly, political commitment has inspired her choice of subjects. With themes ranging from state repression to AIDS, Portillo's films include: Después del Terremoto, the Oscar-nominated Las Madres: The Mothers of the Plaza de Mayo, La Ofrenda: The Days of the Dead, The Devil Never Sleeps, and Corpus: A Home Movie for Selena. The first study of Portillo and her films, this collection is collaborative and multifaceted in approach, emphasizing aspects of authorial creativity, audience reception, and production processes typically hidden from view. Rosa Linda Fregoso, the volume editor, has organized the book into three parts: interviews (by Fregoso and Kathleen Newman and B. Ruby Rich); critical perspectives (essays by Fregoso, Yvonne Yarbro-Bejarano, Sylvie Thouard, Norma Iglesias, and Barbara McBane); and production materials (screenplays, script notes, storyboards, etc.). This innovative collection provides "inside" information on the challenges of making independent films. By describing the production constraints Portillo has surmounted, Fregoso deepens our appreciation of this gifted filmmaker's life, her struggles, and the evolution of her art.

Note: Frontmatter -- , Contents -- , Acknowledgments -- , Introduction -- , Part One: The Woman behind the Camera -- , 1. Interview with Lourdes Portillo (1998) -- , 2. Interview with Lourdes Portillo (1994) -- , 3. Interview with Lourdes Portillo (1990) -- , Part Two: Critical Perspectives -- , 4. Devils and Ghosts, Mothers and Immigrants: A Critical Retrospective of the Works of Lourdes Portillo -- , 5. Ironic Framings: A Queer Reading of the Family (Melo)drama in Lourdes Portillo’s The Devil Never Sleeps/El diablo nunca duerme -- , 6. Performances of The Devil Never Sleeps/El diablo nunca duerme -- , 7. Who Is the Devil, and How or Why Does He or She Sleep? Viewing a Chicana Film in Mexico -- , 18. Pinning Down the Bad-Luck Butterfly: Photography and Identity in the Films of Lourdes Portillo -- , Part Three: Production Materials -- , 9. Script notes for Después del terremoto -- , 10. Cast List for Después del terremoto -- , 11. Funding application for Después del terremoto -- , 12. Letter for Oscar Nomination of Las Madres: The Mothers of the Plaza de Mayo -- , 13. Transcript for English and Spanish narration of La Ofrenda: The Days of the Dead -- , 14. Transcript for interviews in La Ofrenda -- , 15. Screenplay for Columbus on Trial -- , 16. Floor plans for set design of Columbus on Trial -- , 17. Storyboard for Columbus on Trial -- , Appendix: ¿Quién es el diablo, cómo y por qué duerme? La lectura de una película chicana en México -- , Filmography -- , Major Awards and Honors -- , Notes -- , Notes on Contributors -- , Index , In English.

Language: English

Keywords: Electronic books ; Electronic books

DOI: 10.7560/725249

URL: https://www.degruyter.com/isbn/9780292789128

URL: FULL  ((OIS Credentials Required))

URL: FULL  ((OIS Credentials Required))

URL: https://www.degruyter.com/isbn/9780292789128

UID:

Format: 1 online resource : , 51 images

ISBN: 9780813599625

Content: We all have images that we find unwatchable, whether for ethical, political, or sensory and affective reasons. From news coverage of terror attacks to viral videos of police brutality, and from graphic horror films to transgressive artworks, many of the images in our media culture might strike us as unsuitable for viewing. Yet what does it mean to proclaim something “unwatchable”: disturbing, revolting, poor, tedious, or literally inaccessible? With over 50 original essays by leading scholars, artists, critics, and curators, this is the first book to trace the “unwatchable” across our contemporary media environment, in which viewers encounter difficult content on various screens and platforms. Appealing to a broad academic and general readership, the volume offers multidisciplinary approaches to the vast array of troubling images that circulate in global visual culture.

Note: Frontmatter -- , Contents -- , Introduction: Envisioning the Unwatchable / , Part I. Violence and Testimony -- , 1. Theorizing the Unwatchable -- , Unwatchable / , The Gaze from Within / , The Unwatchable and the Unwatchable / , Melting into Visibility / , Pro Forma / , 2. Spectacles of Destruction -- , Terminal Radiance / , Unwatched/Unmanned: Drone Strikes and the Aesthetics of the Unseen / , Breakaway / , The Watchability of the Unwatchable: Television Disaster Coverage / , 3. Bearing Witness -- , The Incommensurable / , Not Seeing Is Believing: The Unwatchable in Advocacy / , Even If She Had Been a Criminal: A Past Unwatched / , Deframing Evidence: A Transmission from Los ingrávidos / , Alan Kurdi’s Body on the Shore / , 4. Visual Regimes of Racial Violence -- , Held Helpless in the Breach: On American History X / , The Flash of History: On the Unwatchable in Get Out / , Nothing Is Unwatchable for All / , Empathy .Complicity / , 5. Spectacularization and Resistance -- , Entertainment Value / , Holocausts, Hallowe’en, and Headdresses / , Unwitnessable: Outrageous Ableist Impersonations and Unwitnessed Everyday Violence / , Part II. Histories and Genres -- , 6. The Tradition of Provocateurs -- , The Two Unwatchables / , Real Horrorshow / , Asymmetries of Desire: Salò, or the 120 Days of Sodom / , Unstomachable: Irréversible and the Extreme Cinema Tradition / , 7. Enduring the Avant-Garde -- , Unwatchability by Choice: Isou’s Venom and Eternity / , The Refusal of Spectacle: Debord’s Howls for Sade / , Warhol’s Empire: Unwatched and Unwatchable / , Warhol’s Empire / , Watching Paint Dry / , 8. Visceral Responses to Horror -- , “Peekaboo”: Thoughts on (Maybe Not) Seeing Two Horror Films / , Why I Cannot Watch / , Apotropes / , 9. Pornography and the Question of Pleasure -- , I Am Curious (Butterball) / , At the Threshold to the Void / , 10. Archives and the Disintegrating Image -- , Restoring Blood Money / , Turning Garbo Watchable: From Swedish Bread Bun to Hollywood Goddess / , Twilight of the Dead / , Part III. Spectators and Objects -- , 11. Passionate Aversions -- , “Sad!”: Why I Won’t Watch Antichrist / , Transforming Nihilism / , Oh, Inventiveness! Oh, Imaginativeness! Precious Cinema and Its Discontents: A Rant / , The Biopic Is an Affront to the Cinema / , 12. Tedious Whiteness -- , White Men Behaving Sadly / , “You Is Kind, You Is Smart, You Is Important”; or, Why I Can’t Watch The Help / , Two Tables and a Ladder: WCGW? / , 13. Reality Trumpism -- , TV Trumps / , The Once and Future Hillary: Why I Won’t Watch a TV Miniseries about the 2016 U.S. Presidential Election / , 14. Pedagogy and Campus Politics -- , Why We Can’t Take a Joke / , The Bridge and Unteachable Films / , Squirming in the Classroom: Fat Girl and the Ethical Value of Extreme Discomfort / , 15. The Triggered Spectator -- , What Is an “Unwatchable” Film? (With Reference to Amour and Still Alice) / , Watch at Your Own Peril / , Sects, Fries, and Videotape / , Off Watch / , Acknowledgments -- , Filmography -- , Bibliography -- , Notes on Contributors -- , Index , In English.

Language: English

DOI: 10.36019/9780813599625

URL: https://www.degruyter.com/isbn/9780813599625

UID:

Format: XIX, 419 S. , Ill.

ISBN: 9780822321064 , 9780822321217 , 0822321068 , 0822321211

Note: A collection of the author's essays from the 1970s and 1980s , Prologue. I found it at the movies -- Film in the sixties -- Prologue. Hippie chick in the art world -- Carolee Schneemann's Fuses -- Prologue. Angst and joy on the women's film festival circuit -- Leni Riefenstahl: the deceptive myth -- Prologue. Life, death, and tragic homecoming -- Voodoo verité: Maya Deren's Divine horsemen -- Prologue. An iguana, some wolves, and the dawn of theory -- In the name of feminist film criticism -- Prologue. O brave new world -- One way or another: Sara Gomez and the Cuban experience -- Prologue. A woman's declaration of secession from the avant-garde -- Sex and cinema -- Prologue. Loves's labor lost -- Misconception: laboring under no illusions -- Prologue. Cows and hero-worship -- The films of Yvonne Rainer -- Prologue. Knokke-Heist and the fury that was Edinburgh -- Designing desire: Chantal Akerman -- Prologue. Euphoria reclaims history -- From repressive tolerance to erotic liberation: Maedchen in uniform -- Prologue. Softball, the goddess, and lesbian film culture -- The right of re-vision: Michelle Citron's Daughter rite / coauthored with Linda Williams -- Prologue. The allure of alchemy -- Femicide investigation: Thriller -- Prologue. Sour grapes -- She says, he says: the power of the narrator in modernist film politics Prologue. Sex, gender, and consumer culture -- Antiporn: soft issue, hard world (Not a love story) -- Prologue. Unguided tours -- The feminist avant-garde -- Prologue. Attacking the sisters, or the limits of disagreement -- Cinefeminism and its discontents -- Prologue. Libel threats and exile tactics -- Truth, faith, and the individual: thoughts on U.S. documentary film practice -- Prologue. Disempowerment and the politics of rage -- Lady killers: A question of silence -- Prologue. Film star as outstanding human being -- Julie Christie goes to Washington -- Prologue. Blaming the victim -- Good girls, bad girls: Joyce Chopra's Smooth talk -- Prologue. The berks and the sex wars -- Feminism and sexuality in the eighties -- Epilogue: Charting the eighties.

Additional Edition: Erscheint auch als Online-Ausgabe Rich, B. Ruby, 1948 - Chick flicks Durham : Duke University Press, 1998 ISBN 0822377586

Additional Edition: ISBN 9780822377580

Language: English

Subjects: General works

Keywords: Feministischer Film ; Feminismus ; Film ; Aufsatzsammlung

UID:

Format: xix, 419 p., [8] p. of plates : , ill. ; , 24 cm.

ISBN: 0-8223-7758-6 , 0-8223-2106-8

Series Statement: ACLS Humanities E-Book.

Content: If there was a moment during the sixties, seventies, or eighties that changed the history of the women's film movement, B. Ruby Rich was there. Part journalistic chronicle, part memoir, and 100% pure cultural historical odyssey, Chick Flicks-with its definitive, the-way-it-was collection of essays-captures the birth and growth of feminist film as no other book has done.For over three decades Rich has been one of the most important voices in feminist film criticism. Her presence at film festivals (such as Sundance, where she is a member of the selection committee), her film reviews in the Village Voice, Elle, Out, and the Advocate, and her commentaries on the public radio program "The World" have secured her a place as a central figure in the remarkable history of what she deems "cinefeminism." In the hope that a new generation of feminist film culture might be revitalized by reclaiming its own history, Rich introduces each essay with an autobiographical prologue that describes the intellectual, political, and personal moments from which the work arose. Travel, softball, sex, and voodoo all somehow fit into a book that includes classic Rich articles covering such topics as the antiporn movement, the films of Yvonne Rainer, a Julie Christie visit to Washington, and the historically evocative film Maedchen in Uniform. The result is a volume that traces the development not only of women's involvement in cinema but of one of its key players as well.The first book-length work from Rich-whose stature and influence in the world of film criticism and theory continue to grow-Chick Flicks exposes unexplored routes and forgotten byways of a past that's recent enough to be remembered and far away enough to be memorable.

Note: A collection of the author's essays from the 1970s and 1980s. , Film in the sixties -- Carolee Schneemann's Fuses -- Leni Riefenstahl : the deceptive myth -- Voodoo verité : Maya Deren's Divine horsemen -- In the name of feminist film criticism -- One way or another : Sara Gomez and the Cuban experience -- Sex and cinema -- Misconception : laboring under no illusions -- The films of Yvonne Rainer -- Designing desire : Chantal Akerman -- From repressive tolerance to erotic liberation : Maedchen in uniform -- The right of re-vision : Michelle Citron's Daughter rite / coauthored with Linda Williams -- Femicide investigation : Thriller -- She says, he says : the power of the narrator in modernist film politics -- Antiporn : soft issue, hard world (Not a love story) -- The feminist avant-garde -- Cinefeminism and its discontents -- Truth, faith, and the individual : thoughts on U.S. documentary film practice -- Lady killers : A question of silence -- Julie Christie goes to Washington -- Good girls, bad girls : Joyce Chopra's Smooth talk -- Feminism and sexuality in the eighties.

Additional Edition: ISBN 0822321068

Additional Edition: ISBN 0822321211

Language: English

UID:

Format: 1 online resource (350 p.)

ISBN: 0-8135-9960-1

Content: We all have images that we find unwatchable, whether for ethical, political, or sensory and affective reasons. From news coverage of terror attacks to viral videos of police brutality, and from graphic horror films to transgressive artworks, many of the images in our media culture might strike us as unsuitable for viewing. Yet what does it mean to proclaim something "unwatchable": disturbing, revolting, poor, tedious, or literally inaccessible? With over 50 original essays by leading scholars, artists, critics, and curators, this is the first book to trace the "unwatchable" across our contemporary media environment, in which viewers encounter difficult content on various screens and platforms. Appealing to a broad academic and general readership, the volume offers multidisciplinary approaches to the vast array of troubling images that circulate in global visual culture.

Additional Edition: ISBN 0-8135-9958-X

Language: English