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Books > Arts & Architecture > Performing arts > Films, cinema
This wide-ranging interdisciplinary collection-the first of its
kind-invites us to reconsider the politics and scope of the Roots
phenomenon of the 1970s. Alex Haley's 1976 book was a publishing
sensation, selling over a million copies in its first year and
winning a National Book Award and a special Pulitzer Prize. The
1977 television adaptation was more than a blockbuster
miniseries-it was a galvanizing national event, drawing a
record-shattering viewership, earning thirty-eight Emmy
nominations, and changing overnight the discourse on race, civil
rights, and slavery. These essays-from emerging and established
scholars in history, sociology, film, and media studies-interrogate
Roots, assessing the ways that the book and its dramatization
recast representations of slavery, labor, and the black family;
reflected on the promise of freedom and civil rights; and engaged
discourses of race, gender, violence, and power in the United
States and abroad. Taken together, the essays ask us to reconsider
the limitations and possibilities of this work, which, although
dogged by controversy, must be understood as one of the most
extraordinary media events of the late twentieth century, a
cultural touchstone of enduring significance.
Bringing together the human story of care with its representation
in film, fiction and memoir, this book combines an analysis of care
narratives to inform and inspire ideas about this major role in
life. Alongside analysis of narratives drawn from literature and
film, the author sensitively interweaves the story of his wife's
illness and care to illuminate perspectives on dealing with human
decline. Examining texts from a diverse range of authors such as
Leo Tolstoy, Edith Wharton and Alice Munro, and filmmakers such as
Ingmar Bergman and Michael Haneke, it addresses questions such as
why caregiving is a dangerous activity, the ethical problems of
writing about caregiving, the challenges of reading about
caregiving, and why caregiving is so important. It serves as a fire
starter on the subject of how we can gain insight into the
challenges and opportunities of caregiving through the creative
arts.
The Southern Gothic on Screen explores a body of screen texts that
conform to certain generic conventions and aesthetics that, since
the early twentieth century, have led to the construction of the
American South as a space of ruin, decay, melancholy, loss, and
haunting. The book considers the cultural significance of the
Southern Gothic on screen by examining southern otherness as the
primary mechanism through which the South is rendered a space of
darkness and danger. This opens up a critical space for the
Southern Gothic to be discussed as a screen genre with its own
complex visual, thematic and narrative codes. The book establishes
a perspective that synthesizes a broad understanding of Southern
Gothic genericity with pre-existing cultural and political
discourses on the South, resulting in an analysis that is specific
to film and television while remaining heedful of the intersecting
discourses that inform both the Gothic and the South as historic
and mediated constructs.
Beginning with Casino Royale (2006) and ending with No Time to Die
(2021), the Daniel Craig era of James Bond films coincides with the
rise of various justice movements challenging deeply entrenched
systems of inequality and oppression, ranging from sexism, racism,
and immigration to 2SLGBTQIA+ rights, reproductive justice and
climate change. While focus is often placed on individual actions
and institutional policies and practices, it is important to
recognize the role that culture plays within these systems.
Mainstream film is not simply 'mindless' entertainment but a key
part of a global cultural industry that naturalizes and normalizes
power structures. Engaging with these issues, Resisting James Bond
is a multidisciplinary collection that explores inequality and
oppression in the world of 007 through a range of critical and
theoretical approaches. The chapters explore the embodiment and
disembodiment of power and privilege across the formal, narrative,
cultural and geopolitical elements that define the
revisionist-reversionist world of Daniel Craig’s Bond.
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With the Wind
(Hardcover)
Paul Cronin, Iman Tavassoly; Abbas Kiarostami
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R1,236
Discovery Miles 12 360
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Ships in 10 - 17 working days
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Be Italian
(Hardcover)
Jimmy Angelina, Wyatt Doyle
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R1,250
Discovery Miles 12 500
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Ships in 10 - 17 working days
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Queer Theory and Brokeback Mountain examines queer theory as it has
emerged in the past three decades and discusses how Brokeback
Mountain can be understood through the terms of this field of
scholarship and activism. Organized into two parts, in the first
half the author discusses key canonical texts within queer theory,
including the work of writers as Judith Butler, Michel Foucault,
and Eve Kosofsky Sedgwick. He provides an historical account of the
questions these scholars have posed to our understanding of
sexualities-both normative and non-normative-in the historical past
and in contemporary life, as well as a discussion of the theories
of sexuality and gender offered by these scholars as these
phenomena shape the experiences of men and women in the genital,
bodily, erotic, discursive, and cultural dimensions. The second
part examines Ang Lee's 2005 feature film, Brokeback Mountain, in
order to understand the claims and insights of queer theory.
Tracing the film's adaptation by screenwriter Larry McMurtry of
Annie Proulx's 1997 short story of the same title, this portion of
the book examines the film's narrative about two working-class men
in the rural mid-20th-century U.S. and the meanings of the sexual
and emotional bond between the pair that develops over the course
of two decades.
This book is open access and available on
www.bloomsburycollections.com. It is funded by Knowledge Unlatched.
This innovative collection of essays on twenty-first century
Chinese cinema and moving image culture features contributions from
an international community of scholars, critics, and practitioners.
Taken together, their perspectives make a compelling case that the
past decade has witnessed a radical transformation of conventional
notions of cinema. Following China's accession to the WTO in 2001,
personal and collective experiences of changing social conditions
have added new dimensions to the increasingly diverse Sinophone
media landscape, and provided a novel complement to the existing
edifice of blockbusters, documentaries, and auteur culture. The
numerous 'iGeneration' productions and practices examined in this
volume include 3D and IMAX films, experimental documentaries,
animation, visual aides-memoires, and works of pirated pastiche.
Together, they bear witness to the emergence of a new Chinese
cinema characterized by digital and, trans-media representational
strategies, the blurring of private/public distinctions, and
dynamic reinterpretations of the very notion of 'cinema' itself.
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