." . . this volume has much to offer readers interested in science and technology and constructs of the body, expecially the 'normal' body."--"Disabilities Studies Quarterly"

Hand in hand with such health crises as HIV/AIDS, breast cancer, and the resurgence of tuberculosis has come an explosion of scientific and medical technologies. As technology documents illness with ever greater precision and clarity, the knowledge and vocabulary of patients is being similarly expanded by activists, consumer advocates, and artists working with new electronic technologies.

Into this breach steps The Visible Woman, collecting professional, academic, and lay viewpoints on gender and the role of visual and textual representation in contemporary health and science. From fetal photography and mammography to mental retardation and chronic fatigue syndrome, The Visible Woman reveals how identities are constructed in medical research and public health initiatives, as well as in popular press accounts of health. New ways of seeing the body, through medical imaging, plastic and sexual surgery, and services for people with disabilities, are all informed, the book argues, by a broader cultural fascination with visuality and media.

Emphasizing the authors' first-hand experiences as medical practitioners, activists, scholars, and patients, The Visible Woman breaks with more established approaches that cast patients as passive objects of medical inquiry, and medical professionals as perpetrators of institutional exploitation in the name of the public good. Asking what it means to be on both ends of the microscope, The Visible Woman highlights the complex perspectives of medical and scientificpractitioners who themselves exist both inside and outside their workplaces and professional identities.

The contributors are Michael BA(c)rubA(c), Lisa Cartwright, Stacie A. Colwell, Richard Cone, Anne Eckman, Valerie Hartouni, Janet Lyon, Emily Martin, Gaye Naismith, Mark Rose, Ella Shohat, Vivian Sobchack, Carol Stabile, Sandy Stone, and Paula A. Treichler.

First published in 1988. Routledge is an imprint of Taylor & Francis, an informa company.

Wary, on the one hand, of the disempowering habit of viewing technology as a satanic mill of domination, and weary, on the other, of postmodernist celebrations of the technologically sublime, Constance Penley and Andrew Ross have compiled a group of provocative case studies by contributors whose critical knowledge provides a realistic assessment of the politics currently at stake in those cultural practices touched by advanced technology. The groups examined here range from high-tech office workers, "Star Trek" fans, and Japanese technoporn producers, to teenage hackers, AIDS activists, rap groups, and rock stars. Each has something to tell us about both the production and the management of repressive technocultures and about the politics of creative appropriation. But above all, "Technoculture" suggests some new and timely possibilities for the encouragement of technoliteracy - a crucial requirement not just for postmodern survival but also for the decolonization, demonopolization and democratization of social communication. Constance Penley teaches English and Film Studies at the University of Rochester. Andrew Ross teaches English at Princeton University.

No online description is currently available. If you would like to receive information about this title, please email Routledge at [email protected]

"No serious student of film should miss the great work collected in this volume." W. A. Vincent, Choice

"When so much writing about film is based on overall impressions or shadowy memories, on notes scribbled in the dark or published shot breakdowns that are often overgeneralized or even inaccurate, it is refreshing to be confronted with such scholarly work, characterized by a genuinely attentive eye and a punctilious observation of detail. This long-awaited collection, gathering Bellour s ground breaking studies into one volume, will surely be a crucial source of inspiration for future generations of film scholars." Peter Wollen, Bookforum

The Analysis of Film brings together Raymonds Bellour's now classic studies of classic Hollywood film. It is at once a book about the methods of close film analysis, the narrative structure of Hollywood film, Hitchcock's work The Birds, Marnie, Psycho, North by Northwest and the role of the woman in western representation. But, finally, it is a book about cinema itself and the love for cinema that drives the passion for analyzing the supreme art form of the twentieth century.

Bellour creatively reworks the ideas and methods of structuralism, semiology, and psychoanalysis to unravel the knot of significations that is the filmic text. The introductory chapter sketches out a history of the way the close analysis of film developed. And then, beginning with a study of the Bodega Bay sequence of The Birds, the book goes on to examine every aspect of that singular critical practice, "the analysis of film."

The book is also a model of how to write about the intricacies of film narrative, shot by shot, sequence by sequence, while addressing larger contextual issues of subjectivity, desire, and identification in Western cultural forms. A new, final chapter on D. W. Griffith's The Lonedale Operator brilliantly demonstrates that the dynamics of repetition and alternation that Bellour discovered to be the heartbeat of Hollywood narrative film were already there in nascent form at the beginnings of cinema."

." . . this volume has much to offer readers interested in science and technology and constructs of the body, expecially the 'normal' body."--"Disabilities Studies Quarterly"

Hand in hand with such health crises as HIV/AIDS, breast cancer, and the resurgence of tuberculosis has come an explosion of scientific and medical technologies. As technology documents illness with ever greater precision and clarity, the knowledge and vocabulary of patients is being similarly expanded by activists, consumer advocates, and artists working with new electronic technologies.

Into this breach steps The Visible Woman, collecting professional, academic, and lay viewpoints on gender and the role of visual and textual representation in contemporary health and science. From fetal photography and mammography to mental retardation and chronic fatigue syndrome, The Visible Woman reveals how identities are constructed in medical research and public health initiatives, as well as in popular press accounts of health. New ways of seeing the body, through medical imaging, plastic and sexual surgery, and services for people with disabilities, are all informed, the book argues, by a broader cultural fascination with visuality and media.

Emphasizing the authors' first-hand experiences as medical practitioners, activists, scholars, and patients, The Visible Woman breaks with more established approaches that cast patients as passive objects of medical inquiry, and medical professionals as perpetrators of institutional exploitation in the name of the public good. Asking what it means to be on both ends of the microscope, The Visible Woman highlights the complex perspectives of medical and scientificpractitioners who themselves exist both inside and outside their workplaces and professional identities.

The contributors are Michael BA(c)rubA(c), Lisa Cartwright, Stacie A. Colwell, Richard Cone, Anne Eckman, Valerie Hartouni, Janet Lyon, Emily Martin, Gaye Naismith, Mark Rose, Ella Shohat, Vivian Sobchack, Carol Stabile, Sandy Stone, and Paula A. Treichler.

This wry and highly readable investigation of the role of space travel in popular imagination looks at the way NASA has openly borrowed from the TV show Star Trek to reinforce its public standing. It also celebrates the work of a group of the show's fans who rewrite its storylines in porno-romance fanzines. Constance Penley advocates that scientific experimentation be accompanied by social and sexual experimentation, and devoted to exploring inner as well as outer space.

"Close Encounters "was first published in 1991. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.

Offers new critical approaches to science fiction as represented in film, television, fan culture, and other non-literary media. Addresses the way conventional notions of sexual difference are reworked by science fiction film. Includes the complete script of Peter Wollen's 1987 film "Friendship's Death."

Contributors: Raymond Bellour, Janet Bergstrom, Roger Dadoun, Harvey R. Greenberg, M.D., Henry Jenkins III, Enno Patalas, Constance Penley, Vivian Sobchak, Lynn Spigel, and Peter Wollen.