Feminist Time Against Nation Time offers a series of essays that explore the complex and oftentimes contradictory relationship between feminism and nationalism through a problematization of temporality. Although there has been much recent discussion in the U.S. of the wars in Afghanistan and Iraq and the "War on Terror" as signaling a new period of "permanent war," feminist voices have not been at all prominent in this discussion. This collection considers not only the ways in which public spaces for dissent are limited, but also the ways in which the time for such dissent is cut short. Feminist Time Against Nation Time combines philosophical examinations of "Women's Time" by Julia Kristeva and "The Time of Thought" by Elizabeth Grosz, with essays offering case studies of particular events, including Kelly Oliver's essay on the media coverage of the U.S. wars on terror and in Afghanistan and Iraq, and Betty Joseph's on the anti-colonial uses of "women's time" in the creation of nineteenth-century Indian nationalism. Feminist Time Against Nation Time juxtaposes feminist time against nation time in order to consider temporalities that are at once contrary to, but also drawing toward each other. Yet Hesford and Diedrich also argue that because, as an untimely project, feminism necessarily operates in a different temporality from that of the nation, against-ness is also used to provoke a rupture, a momentary opening up of a disjuncture between the two that will allow us to explore the possibilities of creating a space and time for feminists to think against the current of the present moment.

These fifteen carefully chosen essays by well-known scholars demonstrate the vitality and variety of psychoanalytic film criticism, as well as the crucial role feminist theory has played in its development. Among the films discussed are Duel in the Sun, The Best Yearsof Our Lives, Three Faces of Eve, Tender is the Night,Pandora's Box, Secrets of the Soul, and the works of Jacques Tourneur (director of The Cat People and other features).

"Written with unequivocal enthusiasm for film, feminism and theory, "Women and Film" is a welcome and useful guide to a complex area."--"The Arts"

From novels of the nineteenth century to films of the 1990s, American culture, abounds with images of white, middle-class mothers. In Motherhood and Representation, E. Ann Kaplan considers how the mother appears in three related spheres: the historical, in which she charts changing representations of the mother from 1830 to the postmodernist present; the psychoanalytic, which discusses theories of the mother from Freud to Lacan and the French Feminists; and the mother as she is figured in cultural representations: in literary and film texts such as East Lynne, Marnie and the The Handmaid's Tale, as well as in journalism and popular manuals on motherhood. Kaplan's analysis identifies two dominant paradigms of the mother as `Angel' and `Witch', and charts the contesting and often contradictory discourses of the mother in present-day America.

Between the Psyche and the Social is the first collection of its kind to offer original, interdisciplinary essays on questions of social subjectivity. Contributors engage the disciplines of feminism, psychoanalytic theory, queer theory, postcolonial theory, film theory, literary criticism, and philosophy to transform the psychoanalytic study of social oppression. The book considers such questions as, How can psychoanalysis and critical social theory engage and transform one another? How can the social dimensions of subjectivity be understood within the framework of a classic psychoanalytic theory that rejects the social domain that gives rise to subjectivity in the first place? Between the Psyche and the Social reclaims the contributions of psychoanalysis, feminism, queer theory, postcolonial, and political theories in order to change the parameters of the current debates on the social dimensions of subjectivity.

Looking for the Other employs Hollywood films about colonial or exotic travel, and those by women filmmakers of colour, to argue that 'male' and the 'imperial' gazes are intertwined in complex ways across cultures. Featured films include Birth of a Nation, The Cat People, Home of the Brave, Black Narcissus, Chocolat, and Warrior Marks. Featured filmmakers include D.W.Griffith, Jacques Tourneur, Michael Powell, Julie Dash, Pratibha Parmar, Trinh T. Min-ha, and Claire Denis.

From novels of the nineteenth century to films of the 1990s, American culture, abounds with images of white, middle-class mothers. In Motherhood and Representation, E. Ann Kaplan considers how the mother appears in three related spheres: the historical, in which she charts changing representations of the mother from 1830 to the postmodernist present; the psychoanalytic, which discusses theories of the mother from Freud to Lacan and the French Feminists; and the mother as she is figured in cultural representations: in literary and film texts such as East Lynne, Marnie and the The Handmaid's Tale, as well as in journalism and popular manuals on motherhood. Kaplan's analysis identifies two dominant paradigms of the mother as `Angel' and `Witch', and charts the contesting and often contradictory discourses of the mother in present-day America.

"Written with unequivocal enthusiasm for film, feminism and theory, "Women and Film" is a welcome and useful guide to a complex area."--"The Arts"
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The first non-stop rock video channel was launched in the US in 1981. As a unique popular culture form, MTV warrants attention, and in this, the first study of the medium, originally published in 1987, Ann Kaplan examines the cultural context of MTV and its relationship to the history of rock music. The first part of the book focuses on MTV as a commercial institution, on the contexts of production and exhibition of videos, on their similarity to ads, and on the different perspectives of directors and viewers. Does the adoption of adolescent styles and iconography signal an open-minded acceptance of youth's subversive stances; or does it rather suggest a cynicism by which profit has become the only value? In the second part of the book, Kaplan turns to the rock videos themselves, and from the mass of material that flows through MTV she identifies five distinct types of video: the 'romantic', the 'socially conscious', the 'nihilistic', the 'classical', and the 'postmodern'. There are detailed analyses of certain videos; and Kaplan focuses particularly on gender issues in videos by both male and female stars. The final chapter explores the wider implications of MTV. What does the channel tell us about the state of youth culture at the time?

These fifteen essays by well-known scholars demonstrate the vitality and variety of psychoanalytic film criticism, as well as the crucial role feminist theory has played in its development.

The Hollywood industry is one of the most popular modules studied as part of a film studies degree. American Cinema and Hollywood is tailored precisely to meet the needs of students taking such a course, covering the history of American cinema, the emerging studio system, Hollywood's relationship with both American society and the world beyond. Specially commissioned chapters by top-class international contributors engage with critical debates, whilst learning aids such as chapter summaries and guides to further reading help the student to assimilate the material. Illustrated throughout, this text is an essential course companion for students of film and media.

The first non-stop rock video channel was launched in the US in 1981. As a unique popular culture form, MTV warrants attention, and in this, the first study of the medium, originally published in 1987, Ann Kaplan examines the cultural context of MTV and its relationship to the history of rock music. The first part of the book focuses on MTV as a commercial institution, on the contexts of production and exhibition of videos, on their similarity to ads, and on the different perspectives of directors and viewers. Does the adoption of adolescent styles and iconography signal an open-minded acceptance of youth's subversive stances; or does it rather suggest a cynicism by which profit has become the only value? In the second part of the book, Kaplan turns to the rock videos themselves, and from the mass of material that flows through MTV she identifies five distinct types of video: the 'romantic', the 'socially conscious', the 'nihilistic', the 'classical', and the 'postmodern'. There are detailed analyses of certain videos; and Kaplan focuses particularly on gender issues in videos by both male and female stars. The final chapter explores the wider implications of MTV. What does the channel tell us about the state of youth culture at the time?

This book brings together carefully selected essays on feminism and film with a view to tracing major developments in theory, criticism, and practices of women and cinema from 1973 to the present day. It illuminates the powerful, if controversial role feminist research has played in the emergence of Film Studies as a discipline during these years, and reprints a variety of methods of feminist film study. As well as a wide-ranging introduction by Kaplan which sets her selection of essays in context, readers will find examples of social-role, psychoanalytic, structuralist, post-structuralist, gay and lesbian, postmodern and postcolonial feminist film criticism, prefaced by introductory notes and including further readings.

Louis Althusser remained until his death in 1990 the most controversial of the "master thinkers" who emerged from the turbulent Parisian intellectual scene of the 1960s. The publication of his bestselling posthumous "autobiography", L'avenir dure longtemps, has now refueled some of these controversies. Hugely influential, whether lauded or vilified, Althusser occupies a unique place in contemporary philosophy. What is certain is that Althusserian themes and motifs continue to constitute a vital region in materialist thought. The Althusserian Legacy is the first collective attempt to draw up a balance sheet, not on Althusser alone but on the questions that his work helped to bring to the forefront of Marxist theory. The volume brings together work in history, philosophy, economics, sociology, and literary criticism, all of it derived from or significantly inflected by Althusser. Taken together, the essays assess soberly, critically, but always generously, the full extent of his legacy. The volume contains a lengthy interview with Jacques Derrida, a long-time friend and colleague of Althusser at the Ecole Normale in Paris, and concludes with obituaries by Derrida and Gregory Elliott. Perhaps only now, more than a decade after his active intellectual life has come to a close, is it possible to render sound, just judgments on the meaning and significance of this much-debated body of work. The Althusserian Legacy is a rich beginning to that important task.

Comprehensive, authoritative, and unique, The Oxford Guide to Film Studies is the up-to-date critical volume on the theories, debates, and approaches to the study of film. A host of international experts provide an overview of the main disciplinary approaches to film studies, an explanation of the main concepts and methods involved in film analysis, a survey of the main issues and debates in the study of film, and critical discussion of key areas.

The Guide features:

* Comprehensive coverage suitable for any course on cinema or film studies

* Organized into three sections: Approaches; Hollywood and the World; World Cinema

* An emphasis throughout on critical concepts, methods, and debates

* Specially commissioned chapters on such varied topics as film music, the Hollywood Star System, and the idea of national cinema

* Coverage dedicated to important new areas in film studies: gay and lesbian criticism, postcolonial theory, audience studies, post-classical Hollywood cinema, and cultural studies

* Chapters discussing exciting new developments in classical topics, such as Early Hollywood Cinema, Film History, and the avant-garde

* Illustrated throughout, and complete with `readings' designed to demonstrate the variety of theoretical approaches, chapter headings and summaries, guides to further reading, and `highlight' quotes

With its uniquely comprehensive coverage, The Oxford Guide to Film Studies is an indispensable aide and reference source for the student of film and media, and anyone interested in the study of cinema.

Film Studies: Critical Approaches represents the most up-do-date critical guide to the study of film, covering all the significant theories, debates and approaches to the subject. A team of international experts provides an overview of the main disciplinary approaches to film studies, explaining the main concepts and methods involved in film analysis, and discussing areas in detail, including important new areas such as film audiences and reception, queer theory, film and psychoanalysis, and poststructuralist debates. Chapter summaries and lists of further reading in each chapter help the student to assimilate the material. This text is ideal for undergraduates taking courses in film criticism and textual analysis, guiding the reader through the maze of theory to the heart of the subject.

World Cinema: Critical Approaches is a comprehensive guide to international film, covering areas as diverse as New German, Indian, and South American Cinema. Chapters are written by a team of world experts, outlining the most recent debates in the field, and covering issues of genre and the impact of technological developments. Illustrated throughout, the book contains further reading recommendations and summaries in each chapter to help the student to learn the material. This text should be invaluable to students of World cinema, and for anyone wishing to look in depth at the film output and ideas of a particular region.

Eloquent, provocative, and timely, these essays provide a thoughtful, undoctrinaire defense of the centrality of the humanities to higher education--and society--at the millennium.--Cora Kaplan, University of Southampton The crisis in the humanities and higher education intensifies daily. The partisan din drowns out the voices of those thinkers who have resisted the seductions of strong ideology. Against the tendencies of the extreme attacks on higher education from the right and the counterattacks from the left, many academics would prefer to get beyond critical fashions and easy slogans. In this collection, leading scholars demonstrate how the current furor threatens the critical analysis of culture, so vital to a healthy society. They explore the historical sources of the crisis, the relations between politics and research, the responsibilities and possibilities of the academic intellectual, the structure of the institution of the university, the functions and achievements of the humanities, and the development of interdisciplinarity as a catalyst for change. This volume is a necessary resource for understanding the current crisis and for transforming the academy as we approach the twenty-first century. The contributors are Jonathan Arac, Lauren Berlant, Peter Brooks, Roman de la Campa, Myra Jehlen, Stanley Katz, Richard Kramer, Dominick LaCapra, George Levine, Ellen Messer-Davidow, Helene Moglen, Bill Readings, and Bruce Robbins. E. Ann Kaplan is the director of The Humanities Institute at the State University of New York at Stony Brook

Spanning time and space from late Victorian Britain and Ireland to postwar America and Latin America, Late Imperial Culture maps crucial regions in the terrain of imperial cultural practices including theater, film, photography, fiction, autobiography, and body art. The forms reviewed in this lively collection range from those which accept and reproduce empire's dominant self-images to scathing critiques of the oppressions that colonialism has visited upon its subjects and the price it continues to exact from them. A diverse range of theoretically sophisticated and historically informed contributors take as given two fundamental facts about the culture of imperialism: firstly, that it has a long and complex history which, in the present epoch, merits its being designated "late"; and, secondly, that its impact on the contemporary world is far from exhausted. Together they highlight the contradictions in the serried cultural practices of imperialism in its different historical periods. Contributors: Aijaz Ahmad, Steven Cagan, Roman de la Campa, David Glover, May Joseph, Caren Kaplan, Rob Nixon, Ella Shohat, Robert Stam, and Marianna Torgovnick.

On the current battlefield of cultural criticism and production, no term has been more vigorously contested than 'postmodernism'. Defying clear definition, yet persisting as an indispensable category, it has become one of the central topics in the theory and practice of contemporary culture. Postmodernism and Its Discontents collects some of the major theoretical statements in this debate, including the key intervention of Fredric Jameson, and pits them against original contributions by a range of younger writers who explore the terrain of postmodernism in a variety of cultural practices. Essays on poetry and punk culture, recent American fiction, rock videos, Hollywood and foreign film, and sports and soap operas complement more directly theoretical pieces which tackle, to repeat the title of one essay, 'what is at stake in the debate on postmodernism.' Above all, this collection is distinguished by its steadfast refusal to elide the determinate political issues posed by postmodernism. Each of the essays insists upon the materiality of cultural production, locating various post-modernist practices in the social conditions of contemporary life, including the overarching structures of gender and class.

"This book will have significant impact in film and media studies because Kaplan so skillfully 'translates' the most interesting work done in trauma studies and takes it in new and original directions. It is illuminating, lucid, and persuasive." --Patrice Petro, author of Aftershocks of the New: Feminism and Film History "This book is an engaging read--a real page turner--not only because of its conversational style and beautiful prose but also because it addresses some of the most complex psychological issues facing our culture today." --Kelly Oliver, W. Alton Jones Professor, Vanderbilt University It may be said that every trauma is two traumas or ten thousand--depending on the number of people involved. How one experiences and reacts to an event is unique and depends largely on one's direct or indirect positioning, personal and psychic history, and individual memories. But equally important to the experience of trauma are the broader political and cultural contexts within which a catastrophe takes place and how it is "managed" by institutional forces, including the media. In Trauma Culture, E. Ann Kaplan explores the relationship between the impact of trauma on individuals and on entire cultures and nations. Arguing that humans possess a compelling need to draw meaning from personal experience and to communicate what happens to others, she examines the artistic, literary, and cinematic forms that are often used to bridge the individual and collective experiences. Case studies, including Sigmund Freud's Moses and Monotheism, Marguerite Duras's La Douleur, Sarah Kofman's Rue Ordener, Rue Labat, Alfred Hitchcock's Spellbound, and Tracey Moffatt's Night Cries, reveal how empathy can be fostered without the sensationalistic element that typifies the media. From World War II to 9/11, this passionate study eloquently navigates the contentious debates surrounding trauma theory and persuasively advocates the responsible sharing and translating of catastrophe. E. Ann Kaplan is a professor of English at SUNY-Stony Brook, where she founded and directs the Humanities Instiute. She was recently the president of the Society for Cinema and Media Studies.

Each month brings new scientific findings that demonstrate the ways in which human activities, from resource extraction to carbon emissions, are doing unprecedented, perhaps irreparable damage to our world. As we hear these climate change reports and their predictions for the future of Earth, many of us feel a sickening sense of déjà vu, as though we have already seen the sad outcome to this story.   Drawing from recent scholarship that analyzes climate change as a form of “slow violence� that humans are inflicting on the environment, Climate Trauma theorizes that such violence is accompanied by its own psychological condition, what its author terms “Pretraumatic Stress Disorder.� Examining a variety of films that imagine a dystopian future, renowned media scholar E. Ann Kaplan considers how the increasing ubiquity of these works has exacerbated our sense of impending dread. But she also explores ways these films might help us productively engage with our anxieties, giving us a seemingly prophetic glimpse of the terrifying future selves we might still work to avoid becoming.    Examining dystopian classics like Soylent Green alongside more recent examples like The Book of Eli, Climate Trauma also stretches the limits of the genre to include features such as Blindness, The Happening, Take Shelter, and a number of documentaries on climate change. These eclectic texts allow Kaplan to outline the typical blind-spots of the genre, which rarely depicts climate catastrophe from the vantage point of women or minorities. Lucidly synthesizing cutting-edge research in media studies, psychoanalytic theory, and environmental science, Climate Trauma provides us with the tools we need to extract something useful from our nightmares of a catastrophic future.    

This remarkable collection uses genre as a fresh way to analyze the issues of gender representation in film theory, film production, spectatorship, and the contexts of reception. With a uniquely global perspective, these essays examine the intersection of gender and genre in not only Hollywood films but also in independent, European, Indian, and Hong Kong cinemas. Working in the area of postcolonial cinema, contributors raise issues dealing with indigenous and global cinemas and argue that contemporary genres have shifted considerably as both notions of gender and forms of genre have changed. The volume addresses topics such as the history of feminist approaches to the study of genre in film, issues of female agency in postmodernity, changes taking place in supposedly male-dominated genres, concepts of genre and its use of gender in global cinema, and the relationship between gender and sexuality in film. Contributors are Ira Bhaskar, Steven Cohan, Luke Collins, Pam Cook, Lucy Fischer, Jane Gaines, Christine Gledhill, Derek Kane-Meddock, E. Ann Kaplan, Samiha Matin, Katie Model, E. Deidre Pribram, Vicente Rodriguez Ortega, Adam Segal, Chris Straayer, Yvonne Tasker, Deborah Thomas, and Xiangyang Chen.

The first edition of "Women in Film Noir" (1978) assembled a group of scholars and critics committed to understanding the cinema in terms of gender, sexuality, politics, psychoanalysis and semiotics. This edition is expanded to include further essays which reflect the renewed interest in Film Noir. Exploring "neo-noir", postmodernism and other contemporary trends, new essays offer readings of, among others, "Bound" and "Basic Instinct", broadening the scope of the book to include questions of race and homosexuality.