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Gendering the Nation
The definitive collection of essays, both original and previously published, that address the impact and influence of a century of women's film making in Canada.
Roman Imperialism and Civic Patronage
In this book, Brenda Longfellow examines one of the features of Roman Imperial cities, the monumental civic fountain. Built in cities throughout the Roman Empire during the first through third centuries AD, these fountains were imposing in size, frequently adorned with grand sculptures, and often placed in highly trafficked areas. Over twenty-five of these urban complexes can be associated with emperors. Dr. Longfellow situates each of these examples within its urban environment and investigates the edifice as a product of an individual patron and a particular historical and geographical context. She also considers the role of civic patronage in fostering a dialogue between imperial and provincial elites with the local urban environment. Tracing the development of the genre across the empire, she illuminates the motives and ideologies of imperial and local benefactors in Rome and the provinces and explores the complex interplay of imperial power, patronage, and the local urban environment.
Triangulated Visions
This broad-ranging collection, the first of its kind, gathers essays on the representation of women in recent German cinema, as well as recent interviews with German women filmmakers.
Women's Lives, Women's Voices
Literary evidence is often silent about the lives of women in antiquity, particularly those from the buried cities of Pompeii and Herculaneum. Even when women are considered, they are often seen through the lens of their male counterparts. In this collection, Brenda Longfellow and Molly Swetnam-Burland have gathered an outstanding group of scholars to give voice to both the elite and ordinary women living on the Bay of Naples before the eruption of Vesuvius. Using visual, architectural, archaeological, and epigraphic evidence, the authors consider how women in the region interacted with their communities through family relationships, businesses, and religious practices, in ways that could complement or complicate their primary social roles as mothers, daughters, and wives. They explore women-run businesses from weaving and innkeeping to prostitution, consider representations of women in portraits and graffiti, and examine how women expressed their identities in the funerary realm. Providing a new model for studying women in the ancient world, Women's Lives, Women's Voices brings to light the day-to-day activities of women of all classes in Pompeii and Herculaneum.
The Perils of Pedagogy
Whether addressing HIV/AIDS, the policing of bathroom sex, censorship, or anti-globalization movements, John Greyson has imbued his work with cutting humour, eroticism, and postmodern aesthetics. Mashing up high art, opera, community activism, and pop culture, Greyson challenges his audience to consider new ways that images can intervene in both political and public spheres. Emerging on the Toronto scene in the late 1970s, Greyson has produced an eclectic, provocative, and award-winning body of work in film and video. The essays in The Perils of Pedagogy range from personal meditations to provocative textual readings to studies of the historical contexts in which the artist's works intervene...
Roman Artists, Patrons, and Public Consumption
A fascinating shift toward more nuanced interpretations of Roman art that look at different kinds of social knowledge and local contexts
The Gendered Screen
This book is the first major study of Canadian women filmmakers since the groundbreaking Gendering the Nation (1999). The Gendered Screen updates the subject with discussions of important filmmakers such as Deepa Mehta, Anne Wheeler, Mina Shum, Lynne Stopkewich, Léa Pool, and Patricia Rozema, whose careers have produced major bodies of work. It also introduces critical studies of newer filmmakers such as Andrea Dorfman and Sylvia Hamilton and new media video artists. Feminist scholars are re-examining the ways in which authorship, nationality, and gender interconnect. Contributors to this volume emphasize a diverse feminist study of film that is open, inclusive, and self-critical. Issues of hybridity and transnationality as well as race and sexual orientation challenge older forms of discourse on national cinema. Essays address the transnational filmmaker, the queer filmmaker, the feminist filmmaker, the documentarist, and the video artist—just some of the diverse identities of Canadian women filmmakers working in both commercial and art cinema today.
Nothing Happens
Through films that alternate between containment, order, and symmetry on the one hand, and obsession, explosiveness, and a lack of control on the other, Chantal Akerman has gained a reputation as one of the most significant filmmakers working today. Her 1975 film Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles is widely regarded as the most important feminist film of that decade. In Nothing Happens, Ivone Margulies presents the first comprehensive study of this influential avant-garde Belgian filmmaker. Margulies grounds her critical analysis in detailed discussions of Akerman's work--from Saute ma ville, a 13-minute black-and-white film made in 1968, through Jeanne Dielman and Je tu il ...
North of Everything
This is the first book to comprehensively examine the development of English-Canadian cinema since 1980; previous books in English have dealt either with specific films or filmmakers, with policy, or with specific genres (avant-garde film, documentary, films by women, etc.). It deals with regional and institutional questions, with the new authors that are defining contemporary cinema in English Canada, with avant-garde work and work by Aboriginal people. Bringing together a wide variety of contributors, the book deals with an enormous amount of cinema that has helped transform North American culture of the last two decades.
The Woman at the Keyhole
"[The Woman at the Keyhole is one] of the most significant contributions to feminist film theory sin ce the 1970s." -- SubStance "... this intelligent, eminently readable volume puts women's filmmaking on the main stage.... serves at once as introduction and original contribution to the debates structuring the field. Erudite but never obscure, effectively argued but not polemical, The Woman at the Keyhole should prove to be a valuable text for courses on women and cinema." -- The Independent When we imagine a "woman" and a "keyhole," it is usually a woman on the other side of the keyhole, as the proverbial object of the look, that comes to mind. In this work the author is not necessarily reversing the conventional image, but rather asking what happens when women are situated on both sides of the keyhole. In all of the films discussed, the threshold between subject and object, between inside and outside, between virtually all opposing pairs, is a central figure for the reinvention of cinematic narrative.
