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Genre Trouble and Extreme Cinema
This volume re-evaluates theories of genre and spectatorship in light of a critic-defined tendency in recent art cinema, coined ‘extreme cinema’. In Genre Trouble and Extreme Cinema, Bordun argues that the films of Mexican director Carlos Reygadas and French director Catherine Breillat expand generic classifications. Bordun contends that their films make it apparent that genre is not established prior to the viewing of a work but is recollected and assembled by spectators in ways that matter for them in both personal and experiential terms. The author deploys contemporary film theories on the senses, both phenomenological and affect theory, and partakes in close readings of the films’ forms and narratives. The book thus adds to the present literature on extreme cinema and film theory, yet sets itself apart by fully deploying genre theory alongside the methodological and stylistic approaches of Stanley Cavell, Vivian Sobchack, Laura U. Marks, and Eugenie Brinkema.
Unwatchable
"We all have images that we find unwatchable, whether for ethical, political, or sensory-affective reasons. From news coverage of terror attacks to viral videos of police brutality, and from graphic horror films to incendiary artworks that provoke mass boycotts, many of the images in our media culture strike as beyond the pale of consumption. Yet what does it mean to proclaim a media object "unwatchable": disturbing, revolting, poor, tedious, or literally inaccessible? Appealing to a broad academic and general readership, Unwatchable offers multidisciplinary approaches to the vast array of troubling images that circulate in our global visual culture, from cinema, television, and video games ...
Mexico Unmanned
Iconic images of machismo in Mexico's classic cinema affirm the national film industry's historical alignment with the patriarchal ideology intrinsic to the post-revolutionary state's political culture. Filmmakers gradually turned away from the cultural nationalism of mexicanidad, but has the underlying gender paradigm been similarly abandoned? Films made in the past two decades clearly reflect transformations instituted by a neoliberal regime of cultural politics, yet significant elements of macho mythology continue to be rearticulated. Mexico Unmanned examines these structural continuities in recent commercial and auteur films directed by Alfonso Cuarón, Carlos Cuarón, Carlos Reygadas, Amat Escalante, and Julio Hernández Cordón, among others. Informed by cinema's role in Mexico's modern/colonial gender system, Samanta Ordóñez draws out recurrent patterns of signification that reproduce racialized categories of masculinity and bolster a larger network of social hierarchies. In so doing, Ordóñez dialogues with current intersectional gender theory, fresh scholarship on violence in the neoliberal state, and the latest research on Mexican cinema.
The Politics of Muslim Intellectual Discourse in the West
This book is a case study in the literary, psychoanalytic, and theological encounters between diasporic Muslim intellectuals and secular western modernity. It centres on the simultaneous search for the possibility of both a reformation of Islamic fundamentalism and a transformation of the exclusionary limitations of western public institutions. With roots in original research in the fields of comparative religion and cultural studies, and drawing on sources in English, French, and Arabic, the author introduces and elaborates the concept of "Western-Islamic public sphere". This concept defines what is at stake in the formative play of public representations where traditionalist foundations an...
New Blood
The taste for horror is arguably as great today as it has ever been. Since the turn of the millennium, the horror genre has seen various developments emerging out of a range of contexts, from new industry paradigms and distribution practices to the advancement of subgenres that reflect new and evolving fears. New Blood builds upon preceding horror scholarship to offer a series of critical perspectives on the genre since the year 2000, presenting a collection of case studies on topics as diverse as the emergence of new critical categories (such as the contentiously named ‘prestige horror’), new subgenres (including ‘digital folk horror’ and ‘desktop horror’) and horror on-demand (‘Netflix horror’), and including analyses of key films such as The Witch and Raw and TV shows like Stranger Things and Channel Zero. Never losing sight of the horror genre’s ongoing political economy, New Blood is an exciting contribution to film and horror scholarship that will prove to be an essential addition to the shelves of researchers, students and fans alike.
Screening Scarlett Johansson
Screening Scarlett Johansson: Gender, Genre, Stardom provides an account of Johansson’s persona, work and stardom, extending from her breakout roles in independent cinema, to contemporary blockbusters, to her self-parodying work in science-fiction. Screening Scarlett Johansson is more than an account of Johansson’s career; it positions Johansson as a point of reference for interrogating how femininity, sexuality, identity and genre play out through a contemporary woman star and the textual manipulations of her image. The chapters in this collection cast a critical eye over the characters Johansson has portrayed, the personas she has inhabited, and how the two intersect and influence one another. They draw out the multitude of meanings generated through and inherent to her performances, specifically looking at processes of transformation, metamorphosis and self-deconstruction depicted in her work.
Feminism and the Religious Significance of Laughing Bodies
This book identifies the significance of the body through a feminist reconceptualisation of laughter as a means of insight. It positions itself within the emerging scholarship on religion and humour but distinguishes itself by moving away from the emphasis on humour and instead focuses on the place and role of laughter. Through a feminist reading of laughter, which is grounded in the philosophical and psychological works of William James, this book emphasises the importance of the body to offer an exploration of laughter as a means of insight. In doing so, it challenges the classificatory orders of knowledge by recognising and arguing for the value of the body in the creation of knowledge and understanding. To demonstrate the centrality of the body for insight laughter, and thus the creation of knowledge, this book engages with laughter within three thematic areas: religious experience, gendered experiences of laughter, and the ethics of laughter. This book will be of interest to students and researchers in religious studies, theology, gender studies, humour studies, philosophy, and the history of ideas.
Feminist Posthumanism in Contemporary Science Fiction Film and Media
Feminist Posthumanism in Contemporary Science Fiction Film and Media: From Annihilation to High Life and Beyond places posthumanism and feminist theory into dialogue with contemporary science fiction film and media. This essay collection is intimately invested in the debates around the posthuman and the critical posthumanities within a feminist critical-theoretical framework. In this posthumanist light, science fiction as a genre allows for new imaginings of human-technological relations, while it can also be the site of a critique of human exceptionalism and essentialism. In this way, science fiction affords unique opportunities for the scholarly investigation of the relevance and relative ...
ReFocus: The Films of Spike Jonze
This book looks at Spike Jonze's ground-breaking work in both features and short forms, exploring the impact of his filmmaking across a range of philosophical and cultural discussions
AI in the Movies
AI in the Movies analyses film representations of artificial intelligence, from their first emergence in the 1950s up to 2020. These strong or general artificial intelligences take different forms: some are digital AIs, some robot AIs, some move between material and digital forms. Some are indistinguishable from humans, and some have no material existence at all. Analysis of these representations demonstrates filmmakers eroding the division between human and AI, by presenting character doubles, narrative parallels and eventually, identities in which the biological and artificial overlap and intersect in new hybrid forms.The book identifies the aspects of AI science that fascinate filmmakers and outlines the key themes and tropes in AI film, including parent-child relationships, the female robot, human-AI doubles, parallels and hybrids, and AI death and mortality.
