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Lesbian Cinema after Queer Theory
The unprecedented increase in lesbian representation over the past two decades has, paradoxically, coincided with queer theory's radical transformation of the study of sexuality. In Lesbian Cinema after Queer Theory, Clara Bradbury-Rance argues that this contradictory context has yielded new kinds of cinematic language through which to give desire visual form. By offering close readings of key contemporary films such as Blue Is the Warmest Colour, Water Lilies and Carol alongside a broader filmography encompassing over 300 other films released between 1927 and 2018, the book provokes new ways of understanding a changing field of representation. Bradbury-Rance resists charting a narrative of representational progress or shoring up the lesbian's categorisation in the newly available terms of the visible. Instead, she argues for a feminist framework that can understand lesbianism's queerness. Drawing on a provocative theoretical and visual corpus, Lesbian Cinema after Queer Theory reveals the conditions of lesbian legibility in the twenty-first century.
Lesbian Cinema After Queer Theory
The unprecedented increase in lesbian representation over the past two decades has, paradoxically, coincided with queer theory's radical transformation of the study of sexuality. In Lesbian Cinema after Queer Theory, Clara Bradbury-Rance argues that this contradictory context has yielded new kinds of cinematic language through which to give desire visual form. By offering close readings of key contemporary films such as Blue Is the Warmest Colour, Water Lilies and Carol alongside a broader filmography encompassing over 300 other films released between 1927 and 2018, the book provokes new ways of understanding a changing field of representation. Bradbury-Rance resists charting a narrative of representational progress or shoring up the lesbianâe(tm)s categorisation in the newly available terms of the visible. Instead, she argues for a feminist framework that can understand lesbianismâe(tm)s queerness. Drawing on a provocative theoretical and visual corpus, Lesbian Cinema after Queer Theory reveals the conditions of lesbian legibility in the twenty-first century.
Postfeminism and Contemporary Hollywood Cinema
By analyzing the negotiation of femininities and masculinities within contemporary Hollywood cinema, Postfeminism and Contemporary Hollywood Cinema presents diverse interrogations of popular cinema and illustrates the need for a renewed scholarly focus on contemporary film production.
International Cinema and the Girl
From the precocious charms of Shirley Temple to the box-office behemoth Frozen and its two young female leads, Anna and Elsa, the girl has long been a figure of fascination for cinema. The symbol of (imagined) childhood innocence, the site of intrigue and nostalgia for adults, a metaphor for the precarious nature of subjectivity itself, the girl is caught between infancy and adulthood, between objectification and power. She speaks to many strands of interest for film studies: feminist questions of cinematic representation of female subjects; historical accounts of shifting images of girls and childhood in the cinema; and philosophical engagements with the possibilities for the subject in fil...
Fahrenheit 451
A fireman in charge of burning books meets a revolutionary school teacher who dares to read. Depicts a future world in which all printed reading material is burned.
Screening Sex
For many years, kisses were the only sexual acts to be seen in mainstream American movies. Then, in the 1960s and 1970s, American cinema “grew up” in response to the sexual revolution, and movie audiences came to expect more knowledge about what happened between the sheets. In Screening Sex, the renowned film scholar Linda Williams investigates how sex acts have been represented on screen for more than a century and, just as important, how we have watched and experienced those representations. Whether examining the arch artistry of Last Tango in Paris, the on-screen orgasms of Jane Fonda, or the anal sex of two cowboys in Brokeback Mountain, Williams illuminates the forms of pleasure and...
Fahrenheit 451
Set in the future when "firemen" burn books forbidden by the totalitarian "brave new world" regime.
The Process Genre
From IKEA assembly guides and “hands and pans” cooking videos on social media to Mister Rogers's classic factory tours, representations of the step-by-step fabrication of objects and food are ubiquitous in popular media. In The Process Genre Salomé Aguilera Skvirsky introduces and theorizes the process genre—a heretofore unacknowledged and untheorized transmedial genre characterized by its representation of chronologically ordered steps in which some form of labor results in a finished product. Originating in the fifteenth century with machine drawings, and now including everything from cookbooks to instructional videos and art cinema, the process genre achieves its most powerful affective and ideological results in film. By visualizing technique and absorbing viewers into the actions of social actors and machines, industrial, educational, ethnographic, and other process films stake out diverse ideological positions on the meaning of labor and on a society's level of technological development. In systematically theorizing a genre familiar to anyone with access to a screen, Skvirsky opens up new possibilities for film theory.
Reinventing Cinema
For over a century, movies have played an important role in our lives, entertaining us, often provoking conversation and debate. Now, with the rise of digital cinema, audiences often encounter movies outside the theater and even outside the home. Traditional distribution models are challenged by new media entrepreneurs and independent film makers, usergenerated video, film blogs, mashups, downloads, and other expanding networks. Reinventing Cinema examines film culture at the turn of this century, at the precise moment when digital media are altering our historical relationship with the movies. Spanning multiple disciplines, Chuck Tryon addresses the interaction between production, distribution, and reception of films, television, and other new and emerging media.Through close readings of trade publications, DVD extras, public lectures by new media leaders, movie blogs, and YouTube videos, Tryon navigates the shift to digital cinema and examines how it is altering film and popular culture.
Uninvited
Lesbian characters, stories, and images were barred from onscreen depiction in Hollywood films from the 1930s to the 1960s together with all forms of "sex perversion." Through close readings of gothics, ghost films, and maternal melodramas addressed to female audiences, Uninvited argues that viewers are "invited" to make lesbian "inferences." Looking at the lure of some of the great female star personae (in films such as Rebecca, Pinky, The Old Maid, Queen Christina, and The Haunting) and at the visual coding of supporting actresses, it identifies lesbian spectatorial strategies. White's archival research, textual analyses, and novel theoretical insights make an important contribution to film, lesbian, and feminist studies. Book jacket.
